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HINTS  ON  TINTS 

AND 

HOW  TO  MIX  THEM 

ILLrSTKATED  DY 

ONB  HUNDRED  AND  SEVENTY-FIVE 
SPECIMENS  OF  TINTS 


WITH  AN 

INTRODUCTORY  ESSAY 


COLOR  AND  COLORS 


HV 

HENRY  LEIDEL 

AfTFJf)K  AXn  COMPU.KH  OF 

77ie  Art  <,f  Pai^tcl  Pdiuthw,  rtc."  " ITmv  to  thormiuhlu  moMer  Landscape 
Pavitiuj,  etc."  "Armtionical  Aicxiliari/,  a Key,  etc." 

“ H'dlrr  Otlor  Album." 


FIRST  KDITION. 


NEW  YORK: 

HENRY  LEIDEL 
1MJI3. 


COPYRIGHT 

1893 

BY  HENRY  LEIDEL. 


PREFACE. 

This  little  book  is  the  result  of  a constant  inquiry  for  some 
information  as  to  “ how  to  mix  colors.”  Beginners  constantly 
find  the  want  of  such  knowledge  a serious  stumbling  block 
to  their  progress,  and  the  object  of  this  volume  is  therefore  to 
assist  them  in  the  right  direction,  and  help  develop  whatever 
ability  or  even  genius  they  may  naturally  be  endowed  with. 

No  claim  is  made  that  this  manual  contains  the  only  or  the 

► 

best  method,  but,  as  it  is,  it  is  offered  as  the  result  of  not  only 
much  study,  but  also  practical  experience  ; and  the  author 
hopes  that  its  readers  who  are  undertaking  the  task  of  self- 
tuition will  find  its  perusal  profitable  and  invaluable. 


HENRY  LEIDEL. 


CONTENTS 


PAGE 

Preface 3 

Colors  and  Tints . - 5 

Theory  of  Color 6 

Character  of  Colors 7 

Color 10 

Colors  . . lo 

Color  Making ii 

Permanence  of  Colors i2 

White  Colors 13 

Yellow  Colors 14 

Orange  Colors 19 

Red  Colors 20 

Purple  Colors 25 

Blue  Colors 27 

Green  Colors. 30 

Brown  Colors  33 

Grey  Colors 37 

Black  Colors  38 

Mixed  Tints 39 

Plates 45 

Color  Index Back  of  Plates 


COLORS  AND  TINTS. 


The  proper  mixing  of  tints  and  colors  is  a knowledge 
acquired  largely  through  practical  experience.  Amateurs  and 
even  artists  are  sometimes  at  a loss  to  attain  a required  result 
from  lack  of  this  experience,  and  the  object  of  this  work  is  to 
aid  the  embarrassed  novice  by  giving  such  detailed  information 
as  to  thoroughly  equip  him  to  successfully  cope  with  this  per- 
plexing problem. 

Color  mixtures  are  attained  in  very  various  ways,  viz.,  by 
direct  mixing  of  the  colors  upon  the  palette  before  applying  ; 
by  glazing,  that  is,  by  putting  a transparent  or  semi-transparent 
color  over  another  already  applied  tone.  This  effects  a much 
more  rich  and  brilliant  result  than  bv  direct  mixture  ; but  it 
has  one  drawback,  namely,  that  it  is  not  so  permanent,  espe- 
cially in  the  lighter  tints ; and  by  mixture  in  the  dry  state. 
This  latter  method  is,  however,  only  theoretically  applied. 

Cold  tints  are  those  in  which  blue  predominates,  and  warm 
tints  are  those  in  which  yellow  and  red  prevail.  Yellow,  how- 
ever, does  not  alw.ays  effect  warm  tints:  as,  for  instance,  yellow 
green  is  no  warm  tone,  but,  by  the  addition  of  red,  it  at  once 
actpiires  warmth.  White  and  neutral  grey  act  similarly  to  blue, 
and  produce  cold  tones,  according  to  the  quantity  in  which  they 
preponderate 

The  following  characteristic  of  warm  tints  is  of  especial 
note  : With  increasing  light,  the  luminosity  of  the  warmer 
tints  grows  more  rapid  than  that  of  the  colder  tones.  In  the 
brightest  and  strongest  sunlight,  all  tints  assume  a whitish 
appearance,  without  losing  their  character  of  warmth  or  cold. 
Hv  decreasing  light,  the  warm  tints  lose  their  luminositv  more 
rapidly  than  the  cold  tones  ; by  continued  decreasing  of  the 
light,  the  luminosity  of  bright  red  will  at  a certain  stage  equal 
that  of  a cold  violet,  and  from  this  down  will  appear  darker 
than  the  latter. 

,\11  warm  tints  approach,  and  all  cold  tones  recede  from,  the 
eye. 


6 


thf;<)rv  of  color. 


An  aid  in  the  mixture  of  tints  and  the  study  of  harmony 
and  contrast  is  an  understanding  of  the  theory  of  color. 


THEORY  OF  COLOR. 


There  are  three  distinct  classes  of  colors,  viz.,  Primary, 
Secondary  and  Tertiary. 

The  Primary  Colors  are  such  as  yield  others  by  being  com- 
pounded, but  are  not  themselves  capable  of  being  produced  by 
composition  of  other  colors.  They  represent  the  natural  clear 
prismatic  colors,  and  are 

Yellow,  Red,  Blue. 

Their  contrasts  are  purple,  green,  orange. 

The  Secondary  Colors  are  such  as  can  only  be  composed  of 
any  two  of  the  Primary  Colors.  They  are  also  pure  prismatic 
colors,  and  are 


Orange,  Green,  Purple 

( yellow  yellow  red 

and  are  composed  of  { 

Their  contrasts  are  blue,  red,  yellow. 

The  Tertiary  Colors  are  such  as  can  only  be  composed  of 
two  Secondary  or  the  three  Primary  Colors,  and  are 

Olive,  Brown,  Grey. 

( orange  orange  green 

and  are  composed  of  ^ p^,j.p,^ 

Their  contrasts  are  purple,  green,  orange. 

Black  and  white  are  extreme  colors,  comprehending  all  other 
colors  synthetically,  and  affording  them  all  by  analysis.  Pure 
white,  as  a ground  tone,  always  takes  a prominent  place.  Its 
greatest  contrast  is  black.  Both  colors  equally  combined  pro- 
duce a full  grey.  The  same  can,  however,  by  effected  by  other 
contrasting  colors,  as,  for  instance,  orange  and  blue  or  yellow 
and  purple,  or  even  red  and  green  ; contrasting  colors  being 
so  opposing  that,  when  combined,  they  completely  destroy 
one  another. 

The  power  of  colors  in  contrasting  each  other  agrees  with 
their  correlative  powers  of  light  and  shade,  and  is  to  be  distin- 
guished from  their  power  individually  on  the  eye,  which  is  one 
of  light  alone.  Thus,  although  orange  and  blue — literally  the 
colors  of  extreme  heat  and  cold,  and  which  are  equal  powers  as 


CHARACTER  OF  COLORS. 


7 


rcgJircls  each  other— as  respects  the  eye,  they  are  totally  differ- 
ent and  opposed,  for  orange  is  a luminous  color,  and  acts 
powerfully  in  irritating,  while  blue  is  a shadowy  color,  and 
acts  contrarily  in  soothing  that  organ.  The  same  occurs  in 

various  degrees  with  other  colors. 

Transparency  and  opacity  constitute  another  contrast  of 
coloring.  The  first  appertains  to  shade  and  blackness  and  the 
latter  to  light  and  wliiteness.  Even  contrast  has  its  contrast, 
for  graduation  or  intermediaries  are  antagonistic  to  contrast  or 
extremes.  Consequently  upon  the  right  management  of  con- 
trasts and  graduation  depend  the  harmony,  the  breaks,  the 
tone,  the  effect  and  expression  of  a picture. 

These  contrasts  may  be  variously  or  totally  conjoined. 
Thus,  in  contrasting  any  color,  if  w’e  wish  to  have  light  or 
brilliancy,  \vc  degrade  or  cast  its  opposite  into  shade  ; if  it 
should  be  warm,  we  cool  its  antagonist,  and  if  transparent,  we 
oppose  it  by  an  opaque  contrary,  or  vue  versa.  Indeed,  in  prac- 
tice, all  this  must  be  in  some  measure  combined. 


CHARACTER  OF  COLORS. 

White,  in  a perfect  state,  should  be  natural  in  tone  with 
regard  to  color,  and  absolutely  opaque.  Besides  its  use  as  a 
color,  it  is  the  instrument  of  light  in  painting,  and  compounds 
with  all  colors,  without  change  but  in  tint,  that  is,  it  does  not 
change  or  defile  any  color,  though  it  is  changed  and  defiled  by 

all  others. 

It  is  of  great  value  as  a ground  to  w'ork  upon,  as  the  weak- 
est application  of  color  is  not  changed  by  it. 

While  all  other  colors  weaken  and  take  neutral  tones  with 
distance,  wdiite  remains  pure  the  longest.  It  is  therefore  ad 
vancing,  that  is,  it  brings  the  subject  nearer  to  the  eye.  In 
combination  with  yellow,  it  possesses  the  same  properties,  but 
does  not  when  mixed  with  red.  With  blue  or  blatk  it  retires, 
and  gives  to  those  colors  the  tones  of  the  atmosphere. 

Used  pure,  it  advances  all  other  colors  by  its  contrast  Over- 
use of  it,  however,  produces  a chalky  effect.  Glaring  lights 
are  seldom  of  large  dimensions,  just  as  the  deepest  depths  are 
always  small.  I’laced  side  by  side,  they  form  the  strongest 
contrasts,  and,  with  conscientious  use,  immense  strength.  The 
use  of  jiure  white,  theretore,  reipiires  due  deliberation. 


8 


CHARACTER  OF  COLORS, 


In  combination  with  all  colors,  except  yellow,  it  forms  cold 
tints,  and  is  therefore  to  be  particularly  studied  in  regard  to 
mixing  tints. 

\ ELLow  is  nearest  in  relation  to  white,  and  forms  in  its 
palei  tints  the  transition  of  light  into  color.  It  is  a most  ad- 
vancing color,  and  is  but  slightly  changed  by  distance.  It  is  a 
warm  color,  and  in  a painting  where  Avarm  colors  are  required, 
it  is,  in  connection  with  red,  the  principal  means  to  achieve  this. 

It  is  of  use  in  almost  all  mixtures  and  is  very  sensitive  against 
blue,  the  smallest  quantitv  of  which  immediately  changes  its 
color. 

Orange  is  a secondary  color,  and  is  composed  of  yellow  and 
red.  A perfect  orange  is  such  as  will  neutralize  a pure  blue  of 
equal  quantity  either  in  intensity  or  surface.  It  is  a warm  color, 
and  is  discordant  when  standing  alone  with  yellow  or  red,  un- 
resolved by  their  contrasts,  purple  or  green. 

It  is  an  advancing  color.  In  nature  it  is  effective  at  a great 
distance.  Like  yellow,  it  is  also  affected  by  blue. 

Red  is  a very  advancing  color.  It  is  increased  in  warmth  by 
admixture  with  yellow,  while  with  blue  it  becomes  cool.  As  it 
is,  however,  more  congenial  with  yellow,  it  therefore  partakes 
more  of  the  character  of  the  same  in  its  effects  of  warmth.  As 
a color  it  is  beautiful,  powerful  and  cheering,  and  communicates 
these  qualities  to  its  secondary  colors. 

Under  the  influence  of  light  and  distance,  the  action  on  the 
eye  of  the  power  of  vision  is  diminished  upon  viewing  red  in 
strong  sunlight,  while  on  the  other  hand  red  appears  to  deepen 
rapidly  in  a declining  light.  These  qualities  give  it  great  im- 
portance, rendering  it  difficult  to  manage  and  require  it  to  be 
kept  in  general  subordination  in  a painting. 

Purple  is  a secondary  color,  and  is  composed  of  red  and  blue. 

It  is  the  coolest  of  the  secondary  colors,  and  the  nearest,  also,  to 
black  or  shade.  It  is  a retiring  color  which  reflects  but  little 
light,  and  declines  in  proportion  to  the  distance  it  is  viewed. 

Blue  is  the  third  and  last  of  the  primary  colors,  and  bears  the 
same  relation  to  shade  that  yellow  bears  to  light.  It  is  a retir- 
ing color,  and  is  thrown  back  by  all  colors  in  greater  or  less 
degree. 

It  is  a cold  color  and  of  quiet  disposition,  and  communicates 
these  properties  more  or  less  to  all  colors  it  is  compounded 


CHARACIKR  OF  COLORS. 


9 


with.  It  is  pleasant  to  the  eye,  and  where  delicate,  quiet  tones 
are  needed,  or  in  the  deep,  dark  shades,  it  is  of  much  use. 

CiREE.N’  is  composed  of  the  extreme  primaries— yellow  and 
blue.  It  occupies  the  middle  station  in  the  natural  scale  of 
colors  and  in  relation  to  light  and  shade.  In  its  tones,  green  is 
either  cool  or  warm,  sedate  or  gay,  as  it  inclines  to  blue  or  yel- 
low. Vet  it  is,  in  its  general  effects,  cool,  calm,  temperate  and 
refreshing. 

As  a color  individually,  green  is  eminently  beautiful  and 
agreeable.  It  has  little  power  in  reflecting  light,  and  therefore 
it  is  a retiring  color  and  readily  subdued  by  distance. 

Brown,  in  its  widest  conception,  has  been  used  to  compre- 
hend every  denomination  of  dark  broken  color,  and,  in  a more 
limited  sense,  is  the  rather  indefinite  appellation  of  a very 
extensive  class  of  warm  or  tawny  shade  of  colors.  There  are 
browns  of  every  shade  except  blue,  as  such  a predominance  of 
a cold  color  would  immediately  carry  the  compound  into  grey. 

Brown,  properly,  denotes  a warm,  broken  color  of  which  yel- 
low is  the  principal  constituent.  It  is  a sober,  sedate  color,  grave 
and  solemn  but  not  dismal,  and  contributes  to  the  expression  of 
strength,  stability  and  solidity,  and  in  a minor  degree  to  the 
serious  and  sad. 

Grey  is  the  natural  correlative  of  brown.  It  is  the  color  of 
space,  and  has  the  property  of  diffusing  breadth  in  a picture, 
while  at  the  same  time  it  furnishes  good  connecting  tints  for  har- 
monizing the  general  coloring.  Grey  is,  therefore,  among  the 
most  essential  colors,  which,  however,  must  not  be  suffered  to 
injudiciousl V predominate  in  cases  where  the  subject  does  not 
recpiire  it. 

It  is  a sober,  modest  color,  contributing  to  the  expression  of 
gloom,  sadness  and  fear,  bordering,  in  these  respects,  upon  the 
powers  of  black. 

Black  is  the  absence  of  light — the  extreme  opposite  of  white. 
To  be  perfect  it  must  be  neutral  colors  individually,  and  abso- 
lutely transparent  or  destitute  of  reflection  in  regard  to  light. 

Its  use  in  painting  being  to  represent  shade  or  depth — of 
which  it  is  the  element — in  colors  or  .a  painting,  as  white  is  of 
light. 

All  other  colors  are  by  admixture  with  black  lowered  in  tone. 
Pure  black  is  seldom  used,  .nnd  a painting  which  in  its  general 


lO 


COLOR — COLORS. 


tones  is  ratlier  dark  can  be  lightened  by  the  judicious  use  of  a 
little  black.  To  concentrate  depth,  white  and  black  are  often 
jdaccd  side  by  side. 

COLOR. 

The  word  color  comprises  much  in  itself,  as  every  shade, 
tone  or  tint,  if  primary,  secondary  or  tertiary,  is  designated  by 
the  term  of  color.  Primary  colors,  such  as  pure  red  or  yellow 
or  blue,  are  but  little  used  in  a picture,  as  colors  are  primary 
only  when  in  their  pure  state,  and  undisturbed  by  glaring 
light,  by  shadows  or  reflections:  these  latter  conditions  at  once 
effect  a change  of  tone  in  any  color  ; as,  for  instance,  if  you  place 
a red  silk  handkerchief  upon  a chair  in  the  sunlight,  marked 
changes  in  the  tone  of  the  same  will  immediately  be  noticed.  The 
color  indeed  remains  the  same,  but  the  action  of  the  light  and 
the  reflections  from  various  objects  in  its  vicinity  form  remark- 
able changes  in  the  tone  of  the  same.  This  can  also  be  readily 
noticed  by  the  variation  of  the  color  of  the  woods  in  different 
lights  and  at  different  times  of  the  year.  Color  is  therefore 
dependent  upon  exterior  circumstances,  especially  light  ; and 
by  carefully  studying  these  various  changes  of  color,  color 
contrasts,  purity  and  harmony,  the  eye  is  trained  to  distinguish 
the  slightest  variation  ; for  to  be  a good  colorist  it  is  necessarv 
to  know  the  different  relations  of  colors — their  combinations 
and  harmonies  as  well  as  their  mutual  oppositions  and  annihi- 
lations. 

COLORS. 

While  in  former  times  the  artist  was  his  own  color-maker  — 
that  is,  he  ground  them  fine  with  oil  and  kept  them  in  small 
bladders,  out  of  which  the  color  was  squeezed  through  a small 
cross  cut  in  the  bottom  of  the  same— this  has  been  totally 
superseded  by  the  collapsible  tin  tubes  in  which  finelv  ground 
colors  can  be  bought  at  any  art  store  in  any  quantity.  These 
tube  colors  remain  in  a fresh  and  good  condition  for  a long 
time,  but  eventually  become  dry,  in  which  latter  state  they  can 
be  cut  out  of  the  tube  and  reground  with  a little  oil  and 
turpentine,  though  it  is  better  to  replace  them  with  fresh  colors. 

The  quantity  of  oil  needed  by  pigments  in  tlieir  preparation 
as  oil  colors  is  astonishingly  different,  for  the  bodv  colors,  as 
white,  the  chromes,  etc.,  need  about  12-20  per  cent.,  iron  oxides 


30,  madders  6o,  ochres  60-75,  terre  vert  100,  Prussian  blue, 
the  blacks  112,  cobalt  125,  burnt  sienna  180,  and,  what  is  more 
remarkable,  raw  sienna  requires  about  240  per  cent. 

Those  colors  that  require  but  a little  oil  in  their  preparation 
are  also  but  little  apt  to  cliange,  while  those  which  need  larger 
quantities  deepen  more  or  less  in  tone.  Indiscriminate  use  of 
oil  as  a thinning  medium  while  painting  will  result  in  the 
changing  of  the  colors,  the  cracking  of  the  surface  of  the 
painting,  and  the  reducing  of  the  durability  of  the  same. 

Beginners  should  be  careful  not  to  squeeze  more  color  on 
their  palettes  than  needed  at  one  painting,  as  colors  kept  on  a 
palette  overnight  are  apt  to  dry  a skin,  thereby  making  them 
unfit  for  further  use.  A good  plan  for  keeping  colors,  which 
are  not  all  used,  fresh,  is  to  place  them  upon  a small  china 
palette  and  immerse  the  same  in  water  until  they  are  to  be 
used  again. 

COLOR-MAKING. 

A pigment  is  a prejiaration  used  to  impart  color  to  bodies. 
A pigment  mixed  with  a medium  constitutes  a color,  as  oil- 
colors,  water-colors,  etc. 

The  colors  used  by  the  ancients  were  mainly  derived  from 
native  earths,  and  as  these  earths  and  substances  had  passed 
through  the  wear  and  tear  of  centuries,  they  were  therefore  ex- 
tremely permanent. 

With  the  advancement  of  the  science  (if  chemistry,  artificial 
colors  were  gradually  discovered,  and  the  function  of  the  cohir- 
maker  naturally  sprang  into  existence.  The  colors  in  use  at 
the  present  time  are  mostly  all  of  them  either  partly  or  wholly 
artificial  compounds. 

Color-making  is  an  important  branch  of  industry  in  Eurojic, 
and  has  been  so  specialized  that  some  makers  restrict  themselves 
to  the  manufacture  of  a certain  color  in  which  they  excel,  and 
consetpiently  enjciy  a world-wide  reputation.  Skillful  C(?lor- 
making  requires  great  experience  as  well  as  a thorough  knowl- 
edge of  chemistry.  Colors  can  be  analyzed  to  some  extent,  but 
there  is  a vast  difference  between  the  analysis  and  the  successful 
mantjfacture  of  a color.  Mostly  all  colors  are  made  by  certain 
secret  processes,  which  are  jealously  guarded  by  the  manu- 
facturer. 


THE  PERMANENCE  OF  COLORS. 


I 2 


The  above  has  reference  to  the  making  of  dry  colors  only  ; 
and  the  function  of  the  manufacturer  of  colors  for  artists’  use, 
either  in  oil  or  water,  is  a distinct  branch  of  its  own.  This  is 
simply  the  adding  of  a certain  amount  of  a binding  medium  lo 
the  dry  colors,  and  then  thoroughly  and  finely  grinding  the 
same  upon  mills  constructed  especially  for  that  purpose. 

1 he  erroneous  idea  prevalent  among  many  amateurs,  and, 
unhappily,  also  artists,  that  American  colors  are  not  reliable  and 
fade,  is  a mistaken  impression  which  does  not  rest  on  fact,  but 
principally  on  unwarrantable  prejudice.  If  those  biased  pre- 
tenders, who  constantly  laud  their  preference  for  certain 
European  makes  of  colors  for  their  reliability,  etc.,  were  obliged 
to  substantiate  their  partiality  with  facts,  they  would  quickly 
be  at  a loss  to  account  for  their  prejudice. 

All  dry  colors  used  in  the  manufacture  of  artists’  colors  are 
imported  from  Europe,  for  the  simple  reason  that  as  yet  no  fine 
dry  colors  are  being  made  in  this  country,  and  consequently,  if, 
as  above  stated,  the  best  quality  of  European  dry  colors  are 
used  and  combined  with  a proper  medium,  so  as  to  be  suitable 
for  either  oil  or  water  colors,  as  the  case  may  be,  and  the  same 
then  thoroughly  ground,  so  that  they  are  fine,  and  either  wash 
well  for  water  or  work  buttery  for  oil  colors,  there  should  be  no 
reason  why  such  colors  as  these  are  not  the  equals  of  any  other 
make. 

Accidental  circumstances  often  injure  the  colors,  the  blame 
of  which  is  then  laid  to  the  manufacturer  ; of  these,  nothing  is 
more  to  be  guarded  against  than  the  presence  of  soap  and 
alkali,  too  often  left  in  the  brushes  after  washing  It  is  there- 
fore necessary,  when  washing  brushes,  that  they  are  thoroughly 
cleaned  and  rinsed. 


THE  PERMANENCE  OF  COLORS. 

No  color  is  so  permanent  that  nothing  will  alter  it,  and  on 
the  other  hand,  none  is  so  fugacious  but  that  it  will  remain 
lasting  under  favorable  circumstances. 

Genuine  ultramarine,  which  will  endure  for  centuries  under 
ordinary  circumstances,  may  at  once  be  destroyed  by  a drop 
of  lemon  juice  ; and  carmine,  which  is  generally  fugacious, 
will,  when  excluded  from  light  and  air,  last  fifty  years  or  more. 


WHITK  COLORS. 


•3 


White  lead  will  retain  its  freshness  for  ages  in  pure  atmosphere, 
but  is  blackened  by  a few  hours’  exposure  to  foul  air. 

It  is,  therefore,  durability  under  the  ordinary  conditions  ol 
painting  which  entitles  a color  to  the  character  of  permanence 

WHITE  COLORS. 

CREMNITZ  WHITE 

is  a white  carbonate  of  lead  which  derives  its  name  from  Crern- 
nitz,  in  Austria,  where  it  is  manufactured  It  is  made  in  small 
square  cakes  of  a cubical  form.  It  is  the  whitest  and  possesses 
the  best  body  of  all  white  leads. 

FLAKE  WHITE 

is  an  English  white  lead  in  form  of  scales  or  plates,  sometimes 
grey  on  the  surface.  It  takes  its  name  from  its  figure,  is  equal 
in  body  to  Cremnitz  white  and  is  an  oxidized  carbonate  of  lead, 
not  essentially  differing  from  the  abo\e. 

SILVER  WHITE 

is  brought  from  Paris  in  the  form  of  drops,  is  sometimes  pre- 
ferred for  its  exquisite  white,  though  it  has  less  body  than  either 
Cremnitz  or  flake  white.  These  whites  are  all  unfit  for  gen- 
eral use  as  water  colors,  but  are  good  in  oil. 


ZINC  WHITE 

is  an  oxide  of  zinc  lacking  the  body  and  brightness  of  the  white 
leads,  but  perfectly  durable  both  in  oil  and  water.  It  is  a very 
slow  drier  in  oil,  and  is  used  instead  of  the  white  leads  when  it 
is  desired  to  keep  the  color  longer  wet.  It  is  very  permanent 


CHINESE  WHITE 

is  a preparation  of  oxide  of  zinc,  the  discovery  of  which  has 
proved  an  incalculable  boon  to  water  color  artists,  who  for 
merly  had  no  white  which  combined  perfect  permanence  with 
good  body  in  working.  It  is  beautifully  white,  and  possesses 
the  desirable  quality  of  density. 


CONSTANT  WHITE 

is  sulphate  of  barium.  It  has  no  body,  and  is  not  worth  the 
consideration  of  the  artist. 


M 


YfILLOW  COLORS. 


CHINA  WHITE 

is  an  earthy  white  pigment.  It  has  no  good  qualities  and  is 
used  but  very  little. 

YELLOW  COLORS. 


NAPLES  YELLOW 

is  a compound  of  the  oxides  of  lead  and  antimony.  It  was  for- 
merly prepared  at  Naples,  hence  the  name.  It  is  perfectly  dura- 
ble and  trustworthy.  It  is  opaque  and  in  this  sense  of  good 
body.  It  is  not  changed  b}’’  sunlight  and  is  a safe  color  to  use 
in  oil.  It  is  not  so  reliable  when  in  water,  as  it  is  apt  to  change 
even  to  black.  It  should  not  be  mixed  with  a steel  palette 
knife,  but  with  a horn  or  ivory  spatula.  It  is  now  made  in  five 
shades,  viz.,  light,  medium,  deep,  reddish  and  greenish. 

ANTIMONY  YELLOW 

is  an  obsolete  deep  variety  of  Naples  yellow. 


JAUNE  BRILLIANT 

is  a mixture  of  carbonate  of  lead  and  sulphate  of  potash,  and  is 
very  near  in  color  to  Naples  yellow.  It  is  often  used  in  place 
of  white  when  mixing  light  tints.  It  is  permanent  both  in  oil 
and  water. 


BRILLIANT  YELLOW 

is  but  another  name  for  jaune  brilliant. 


AUREOLIN 

is  a double  nitrite  of  potassium  and  cobalt.  It  is  the  nearest 
approach  to  a perfect  yellow  in  existence.  A pure,  brilliant, 
transparent  color  which  in  its  palest  tints  is  permanent.  Its 
color  is  the  nearest  approaching  the  yellow  of  the  solar  spectrum 
known.  In  all  mixtures  and  combinations,  it  imparts  an  un- 
common freshness,  brilliancy  and  purity.  It  is  permanent  both 
as  an  oil  and  water  color. 


COBALT  YELLOW 

is  synonymous  with  aureolin. 

CADMIUM 

is  a sulphide  of  cadmium.  It  is  a good  drving  color,  manufac- 
tured in  four  shades,  viz.,  lemon,  pale,  deep  and  orange,  which 
latter  is  described  in  the  orange  colors.  Cadmium  deep,  which  is 


YELLOW  COLORS 


*5 


the  pure  color,  is  a lustrous  and  very  intense  orange  yellow.  It 
IS  very  permanent  and  mixes  well  with  all  colors.  It  is  inval- 
uable both  in  oil  and  water.  The  lighter  cadmiums  contain 
more  sulphur  and  are  therefore  less  permanent.  Cadmium 
deepens  in  the  shade  or  when  confined  in  the  dark,  but  quickly 
regains  its  color  when  exposed  to  the  light. 

AURORA  YELLOW 

is  a special  preparation  of  cadmium.  It  is  a brilliant  normal 
yellow,  tending  neither  to  pale  nor  deep  cadmium,  but  about 
between  the  two,  with  a remarkable  quality  of  brightness  and 
purity  of  color  to  it.  It  is  very  permanent,  and  works  well  in 
both  water  and  oil. 

CITRON  YELLOW 

is  a chromate  of  zinc.  It  is  of  a pale  lemon  yellow  color  and 
but  slightly  soluble  in  water.  It  is  not  permanent  and  often 
changes  to  green. 

ZINC  YELLOW 

is  another  variety  of  citron  yellow. 

CHROME  YELLOW 

is  a chromate  of  lead.  It  possesses  a good  body,  but  is  liable  to 
fade.  It  is  capable,  however,  of  resisting  the  sun's  rays  for  a 
long  time.  It  is  made  in  five  shades  and  somewhat  resembles 
the  cadmiums  in  color  ; the  shades  are  lemon  or  light,  medium, 
deep,  orange  and  deep  orange,  the  last  two  are  described  among 
the  orange  colors.  The  difference  in  shade  depends  upon  the 
proportion  of  chromic  acid  to  oxide  of  lead.  They  mix  well 
both  in  oil  and  water,  though  they  produce  serious  changes  upon 
several  colors,  ultimately  destroying  Antwerp  or  Prussian  blue 
when  used  tt>  compound  greens. 


LEMON  YELLOW 

is  a chromate  of  barium.  It  is  perfectly  permanent,  and  is  the 
only  chromate  which  can  be  called  so.  It  is  made  intwoshades, 
the  pale  lemon  and  the  lemon  yellow.  Lemon  yellow  is  a beau 
tiful,  liglit  vivid  color  of  a shade  as  its  name  implies;  the  pale 
lemon  yellow  is  more  of  a primrose  tone,  but  precisely  the  same 
in  its  properties.  It  is  semi-opaque  but  possesses  remarkable 
strength  and  works  jileasantly,  both  as  an  oil  and  water  color. 


YELLOW  COLORS 


I 6 


YELLOW  ULTRAMARINE 

is  another  variety  of  chromate  of  barium,  with  much  of  the  same 
properties  as  lemon  yellow. 

PERFECT  YELLOW 

is  synonymous  with  yellow  ultramarine. 

STRONTIAN  YELLOW 

is,  when  pure,  a chromate  of  strontian,  which,  however,  is  very 
fugacious.  Strontian  yellow,  as  now  sold,  is  but  a mixture  re- 
sembling the  original  color  and  very  permanent.  It  is  of  a del- 
icate primrose  color,  and  is  used  in  oil  only. 

ORIENT  YELLOW 

is  of  a delicate  golden  shade,  bright  and  shining,  resembling  a 
lustrous  and  semi-opacjue  Indian  yellow.  It  is  of  great  depth 
and  richness,  and  is  absolutely  permanent.  It  is  used  in  oil  only. 

MARS  YELl.OW 

is  an  artificial  ochre  of  the  character  of  raw  sienna.  It  is  more 
transparent  as  well  as  richer  in  color  than  the  ochres,  which  it 
also  resembles  in  its  other  qualities.  It  is  absolutely  perma- 
nent, is  a good  drier,  and  used  both  as  an  oil  and  water  color. 

KINGS  YELLOW 

is  a sulphureted  oxide  of  arsenic.  It  is  also  found  native  in 
China.  In  color,  it  is  a bright  and  pure  yellow,  fairly  perma 
nent,  and  used  both  in  oil  and  water.  It  will  not  bear  mixing 
with  any  of  the  lead  colors,  and  is  a deadly  poison. 

ORPIMENT 

is  but  another  name  for  kings  yellow. 

RAW  SIENNA 

IS  a ferruginous  native  pigment  of  a dull  warm  yellow.  It  is 
\ ery  transparent  and  is  but  little  liable  to  change  by  the  action 
of  light,  time  or  impure  air.  It  will,  however,  deepen  in  tone 
in  the  dark.  It  is  an  invaluable  color,  both  in  oil  and  water. 

YELLOW  OCHRE, 

as  well  as  all  other  ochres,  is  a native  earth,  found  in  almost  all 
countries,  consisting  of  silica  and  alumina  colored  by  sesqui- 
oxide  of  iron.  It  is  an  indispensable  and  permanent,  bright  but 


YKI.LOW  C()Lf)RS. 


17 


not  very  vivid  yellow,  and  is  semi-opaque, 
both  in  oil  and  water,  though  somewhat 
former.  It  mixes  well  with  all  colors. 


It  is  very  valuable, 
slow-drying  in  the 


OXFORD  OCHRE 

is  an  English  variety  of  yellow  ochre. 

ROMAN  OCHRE 

is  deeper  and  cooler  in  shade  and  possesses  more  body,  but  in 
other  respects  it  is  similar  to  yellow  ochre. 

BROWN  OCHRE 

is  a dark  colored  yellow  ochre,  not  materially  differing  from  the 
preceding. 

TRANSPARENT  GOLD  OCHRE 

possesses  the  most  brilliant  tone  of  all  the  ochres.  Jt  is  a 
transparent,  ]uire,  clear  yellow  of  the  character  of  raw  sienna. 
It  is  much  employed,  both  as  an  oil  and  water  color,  affording 
useful  and  permanent  tints. 

YELLOW  MADDER 

is  the  most  concentrated  lake  prepared  from  quercitron  bark. 
It  is  a very  bright,  powerful  and  transparent  yellow,  but  is  a 
bad  drier  in  oil.  It  is  fairly  permanent  and  should  not  be 
com])ounded  with  the  metal  colors. 

YELLOW  LAKE 

is  a simpler  preparation  of  the  quercitron  bark.  It  is  lemon  in 
tone,  but  in  other  respects  similar  to  the  preceding,  and  is  used 
both  as  an  oil  and  water  colot. 


ITALIAN  PINK 

is  another  v.ariety  of,  but  richer  in  color  than,  yelloM  lake.  It 
possesses  the  same  properties,  and  finds  use  both  in  oil  and 
water.  The  name  is  an  absurdity,  as  there  is  nothing  pink 
about  it. 


DUTCH  PINK 

is  svnonvmous  with  the  preceding. 

J * * 


GAUDE  LAKE 

is  a decoction  of  the  plant  “ Reseda  luteola.  It  is  a brownish 
yellow  and  not  very  permanent.  It  is  almost  obsolete  and  used 
only  in  oil. 


i8 


YELLOW  COLORS. 


OAMBOGE 

is  a concrete  vegetal  substance  of  a gum-resinous  nature,  which 
exudes  from  the  bruised  leaves  and  young  shoots  of  the  “Yoka- 
thu  ’ tree  of  Ceylon  and  Siam.  In  color  it  is  a beautiful,  bright 
and  transparent  yellow,  but  not  of  greit  depth.  It  is  fairly 
permanent,  and  especially  so  when  used  as  a water  color.  It  is 
lowered  in  tone  to  some  extent  by  impure  air,  but  is  not  easily 
discolored  by  the  action  of  lead.  It  should  not  be  mixed  with 
the  metal  colors. 

EXTRACT  OF  GAMBOGE 

is  tlie  coloring  matter  of  gamboge  separated  from  its  impurities 
and  compounded  with  alumina.  It  is  thereby  improyed  in 
color  ; otherwise  it  possesses  the  same  properties  as  the  pre- 
ceding. 

INDIAN  YELLOW 

consists  of  euxanthate  of  magnesia,  and  is  produced  from  the 
urine  of  the  camel.  It  is  of  a beautiful  pure  }x]  low  color  and  con- 
tains more  depth  and  greater  body  than  any  gamboge.  It  is  not 
affected  by  sunlight  or  foul  air,  but  is  not  lasting  in  ordinary 
light  and  air.  It  works  well  in  both  water  and  oil,  and  should 
not  be  mixed  with  the  cochineal  colors. 

GALLSTONE 

is  an  animal  calculus  formed  in  the  gall  bladder  of  oxen.  In 
color  it  is  a beautiful,  deep  toned,  golden  yellow.  It  is  highly 
reputed  as  a water  color,  but  in  oil  it  is  not  eligible.  It  is  yery 
fugacious,-  and  the  color  sold  under  that  name  is  an  artificial 
compound  resembling  the  original,  but  much  more  permanent 

MASSICOT 

is  an  oxide  of  lead  of  a pale  yellow  color.  It  has  the  same 
properties  as  white  lead,  and  if  used  pure,  is  permanent  in 
color  ; otherwise  it  becomes  white.  It  is  only  used  in  oil,  and 
not  much  in  that. 

JAPAN  YELLOW 

is  a decoction  of  a tree  called  “ Bixa  orellana.”  It  is  of  an  orange- 
yellow  color  and  is  fairly  permanent  in  oil.  It  is  not  used  in 
water. 


ORANGE  COLORS. 


^9 


ORANGE  COLORS 

in  general. — Orange  is  a secondary  color  and  is  composed  of 
yellow  and  red.  A perfect  orange  is  such  as  will  neutralize  a 
pure  blue  of  equal  quantity,  either  in  intensity  or  surface.  It 
is  a warm  color,  and  is  discordant  when  standing  alone  with 
yellow  or  red,  unresolved  by  their  contrasts,  purple  or  green. 
Orange  is  an  advancing  color.  In  nature  it  is  effective  at  a 
great  distance. 

There  are  but  few  orange  colors,  and  these  are  on  the  wliole 
satisfactory,  both  in  regard  to  permanency  and  color. 

BURNT  SIENNA 

is,  as  its  name  implies,  a calcined  raw  sienna.  It  is  of  a brown 
orange  color,  very  rich,  deep  and  transparent.  It  is  an  invalua- 
ble, permanent  and  well  drying  color.  In  other  respects  it 
possesses  the  properties  of  raw  sienna  and  is  used  in  oil  and 
water. 

MARS  ORANGE 

is  an  artificial  oxide  of  iron,  and  in  color  is  a subdued  orange 
very  similar  to  burnt  sienna.  It  is  of  great  purity  and  is  semi- 
transparent. It  is  very  permanent  and  dries  well.  It  should 
not  be  compounded  with  colors  affected  by  iron.  It  is  used 
both  as  an  oil  and  water  color. 

ORANGE  VERMILION 

is  a sulphuret  of  mercury.  Of  a clear  but  not  bright  orange 
tone.  It  resembles  chrome  red  in  ajipearance,  but  is  not  subject 
to  the  changes  of  the  same,  being  a perfectly  durable  color  in 
both  oil  and  water.  It  is  somewhat  slow  drying  and  of  great 
strength.  In  other  respects  it  is  like  other  vermilions,  which 
are  describeil  among  the  red  colors. 

field's  ORANGE  VERMILION 
is  a similar  preparation  to  the  preceding. 

CADMIUM  ORANGE 

is  a sulphide  of  cadmium.  It  is  an  e.xceptionally  brilliant  and 
lustrous  color,  and  is  perfectly  permanent,  being  unaffected  by 
exposure  to  either  light,  air  or  damp.  It  is  of  great  depth  and 
power,  and  is  of  use  both  in  oil  and  water. 


20 


Rl-.D  COLORS. 


PERSIAN  ORANGE 

is  a rich,  luminous  orange  of  great  strength.  It  is  fairly  per- 
manent, and  works  well  in  both  oil  and  water.  It  is  the  most 
brilliant  of  all  orange  colors. 

NEUTRAL  ORANGE 

is  a compound  of  cadmium  yellow  and  Venetian  red.  It  finds 
use  as  a water  color  only  and  is  permanent. 

CHROME  ORANGE 

is  a basic  chromate  of  lead.  It  is  a beautiful  orangfe  color  and 
is  one  of  the  most  durable  of  the  chromates  of  lead.  It  is  char- 
acterized by  power  and  brilliancy  and  is  loss  liable  to  change 
than  the  chrome  yellows.  It  is  used  both  in  oil  and  water,  but 
should  not  be  mixed  with  v'egetal  or  organic  colors. 

CHROME  ORANGE  DEEP 

is  more  red  in  color,  but  does  not  otherwise  differ  from  the 
preceding. 

RED  COLORS 

in  general. — Red  is  a very  advancing  color.  It  is  increased  in 
warmth  by  admixture  with  yellow,  while  with  blue  it  becomes 
cool  ; it  is,  however,  more  congenial  with  yellow  and  therefore 
partakes  more  of  the  character  of  the  same  in  its  effects  of 
warmth,  of  the  influence  of  light  and  distance  and  of  the  action 
on  the  eye,  by  which  the  power  of  vision  is  diminished  upon 
viewing  red  in  a strong  light,  while,  on  the  other  hand,  red 
itself  appears  to  deepen  rapidly  in  a declining  light.  These 
qualities  give  it  great  importance,  rendering  it  difficult  to  man- 
age and  reqiure  it  to  be  kept  in  general  subordination  in  a 
painting 

As  a color  red  is  beautiful,  powerful  and  cheering,  and  com- 
municates these  qualities  to  its  secondary  colors.  Its  contrasting 
color  is  green.  The  red  colors,  both  in  oil  and  water,  are  gen- 
erally good  and  leave  almost  nothing  to  be  desired. 

VERMILION 

is  a sulphide  of  mercury.  It  is  found  native,  but  as  it  is  very 
scarce,  it  is  in  this  state  commercially  obsolete.  Vermilion  as 
sold  is  an  artificial  compound.  The  best  vermilions  now  made 
are  of  American  make,  though  usually  sold  as  English  vermil- 


RED  COLORS. 


2 I 


ion.  It  is  of  deep  bright  red,  and  when  well  made  is  one  of  the 
most  permaneni  colors,  being  entirely  unaffected  by  light,  time 
or  foul  air.  It  possesses  great  body  and  weight  and  is  a some- 
what slow  drier.  It  may  be  safely  mixed  with  other  colors, 
but  is  apt  to  separate  on  account  of  its  great  weight  ; it  is  there 
fore  best  to  use  it  only  with  the  heavier  colors.  It  is  used  both 

as  an  oil  and  water  color. 

SCARLET  VERMILION 

is  similar  to  vermilion,  differing  only  in  tone,  being  more 
scarlet.  It  is  used  both  in  oil  and  water  and  washes  much 
better  than  the  jireceding. 

EXTRACT  OE  VERMILION 

is  identical  with  scarlet  vermilion. 

CHINESE  VERMILION 

inclines  to  crimson  and  is  cooler  than  vermilion.  It  is  found 
in  China  in  so  pure  a state  as  to  recpiire  grinding  only  to 
become  a perfect  vermilion. 

FRENCH  VERMILION 

is  identical  almost  with  vermilion.  It  is  pale  in  lone  and  is  used 
in  oil  only.  Vermilions  have  the  reputation  of  fading, but  this  is 
not  so.  A vermilion  that  is  properly  made  is  strictly  perma- 
nent Ordinary  vermilions  are  colored  with  lake  or  carmine, 
or  with  orange  or  scarlet,  and  these  adulterations  fade  and 
become  black,  hence  the  ill-fame  of  vermilion. 


MADDER  CARMINE 

is  the  coloring  matter  of  the  root  of  the  madder  plant,  precipi- 
tated upon  a base  of  alumina.  The  madder  plant,  “ Rubia 
tinctorium,”  is  largely  grown  in  (iermany,  France  and  Holland. 
The  coloring  matter  obtained  from  the  same  is  called  “alizarin. 

‘ Fresh  madder  roots  do  not  contain  any  appreciable  cpiantity  of 
alizarin,  Imt  a large  amount  of  a glucoside  called  “ rubian. 
After  some  time,  however,  the  roots  undergo  a process  of  fer- 
mentation and  the  rubian  is  decomposed  thereby  into  alizarin 
and  glucose.  The  madders  are  in  color  from  the  deepest  rose 
to  light  pink,  and  in  tones  both  warm  and  cold.  They  are  not 
liable  to  change  by  the  action  of  either  light  or  impure  air  nor 


22 


RED  COLORS. 


by  admixture  witli  other  colors.  They  are,  however,  slow 
driers,  work  well  in  both  oil  and  water  and  improve  in  tone  in 
time. 

Madder  carmine  is  the  richest,  deepest  and  most  transparent 
of  the  madders.  It  is  t.he  only  permanent  carmine,  either  in  oil 
or  water. 

MADDER  LAKE 

is  less  intense  than  the  preceding  and  without  its  carmine  tone. 
It  is  a rich  color,  tending  neither  to  crimson  nor  scarlet. 

ROSE  MADDER 

is  another  synonym  for  madder  lake. 

PINK  MADDER 

is  a weaker  preparation  of  madder  lake  ; in  other  respects  it  is 
the  same. 

ROSE  DORE  (oil  color) 
is  a pink  madder  with  a yellowish  cast. 

Rembrandt’s  madder 

is  a madder  lake  with  a yellowish  tinge  to  it.  It  was  much 
used  by  Rembrandt,  hence  the  name. 

CAPUCINE  madder 

is  a madder  lake,  slightly  brownish  in  tone. 

ROBERTS  LAKE 

is  synonymous  with  madder  lake,  and  made  in  various  shades, 
as  brown,  yellow,  etc. 

CARMINE 

is  the  coloring  matter  extracted  from  the  cochineal  insect. 
Coccus  cacti,’  a native  of  Mexico.  The  coloring  matter  is  not 
in  a free  state,  but  exists  in  the  form  of  a glucoside  called  “ car- 
minic  acid,  which  is  separated  into  carmine  and  glucose  by  the 
action  of  acids.  Carmine  is  that  preparation  of  cochineal  which 
contains  the  most  coloring  matter  and  the  least  alumina  base. 
It  is  a rich,  deep  and  most  intense  color,  which  is  fairly  perma- 
nent under  favorable  conditions  It  has  great  power  in  its  full 
touches,  possesses  considerable  clearness  in  the  pale  washes 
and  works  admirably  both  in  oil  and  water,  though  it  dries 
slowly  in  the  former.  All  cochineal  preparations  do  not  bear 
mixing  with  the  lead  colors. 


RED  COLORS. 


23 


CAR.MINE  NO.  2 

is  an  inferior  preparatio-n,  somewhat  similar  to  the  above,  but 
has  not  the  power  nor  depth  of  the  same.  It  is  used  only  in  oil 
and  IS  a bad  drier. 

CRIMSON  LAKE 

is  a cochineal  preparation,  containing  more  aluminous  base 
than  carmine  and  is  therefore  weaker  in  color.  It  is  hot  so  deep 
nor  as  brilliant  as  carmine,  but  possesses  a certain  bloom  not 
perceptible  in  the  latter.  It  is  more  generally  useful  than  car- 
mine, but  equally  fugacious.  It  is  affected  by  a strong  light 
and  ultimately  destroyed.  It  is  a bad  drier,  and  is  used  both  in 
oil  and  water. 

CARMINE  LAKE 

is  similar  in  all  respects  to  crimson  lake  but  that  it  contains 
more  coloring  matter. 

SCARLET  LAKE 

is  a crimson  lake  tinted  with  vermilion.  It  has  less  permanency 
than  crimson  lake,  as  vermilion  has  a destructive  action  on 
cochineal  lakes.  It  is  used  both  in  oil  and  water. 

INDIAN  LAKE 

is  prepared  from  the  “lac”  or  “ lacca  ” of  India— a resinous 
secretion  found  on  the  branches  of  certain  plants.  Its  color  is 
rich,  transparent  and  deep,  though  less  brilliant  but  more  dura- 
ble than  those  of  cochineal.  Used  thickly  it  is  of  great  body 
and  much  permanency.  It  should  not  be  compounded  with  the 
lead  colors,  and  is  used  only  in  oil. 

CAI’UCINE  LAKE 

i.s  identical  with  the  preceding,  but  has  a brownish  cast. 

PURE  SCARLET 

is  an  iodide  of  mercury.  It  is  a most  vivid  and  beautiful  scarlet 
color,  exceeding  the  brilliancy  of  vermilion,  to  which  it  is  equal 
in  body  but  inferior  in  permanence.  It  is  soon  destroyed  when 
compounded  with  the  metal  colors,  and  fades  altogether  when 
exposed  to  light  and  air.  It  is  used  in  both  oil  and  water. 

ROSE  LAKE 

is  a decoction  of  brazil  wood.  It  is  very  fugacious  under  all 
circumstances,  and  is  but  little  used  and  in  oil  onU. 


24 


RED  COLORS. 


RED  CHROME 

is  a basic  chromate  of  lead.  It  is  of  a scarlet  color,  very  heavy 
and  opaque  in  body.  It  is  a good  drier,  but  is  very  liable  to 
blacken,  and  is  used  in  oil  only. 

MARS  RED 

is  an  artificial  iron  ochre.  In  color  it  is  between  light  and  Indian 
red,  and  is  very  permanent.  It  is  used  in  oil  only,  and  should 
not  be  mixed  with  colors  affected  by  iron. 

LIGHT  RED 

is  a calcined  yellow  ochre.  In  color  it  is  an  orange  russet,  used 
very  much  for  flesh  tints.  It  is  very  permanent,  but  should  not 
be  compounded  with  those  colors  affected  by  iron.  It  is  an 
invaluable  and  very  useful  color,  used  both  as  an  oil  and  water 
color.  It  has  the  general  good  properties  of  ochres  and  dries 
well. 

FLESH  OCHRE 

is  a German  variety  of  light  red,  somewhat  rriore  orange  in  tone. 
In  other  respects  it  is  the  same,  and  is  used  in  oil  only. 

BRUN  ROUGE 

is  a French  variety  of  light  red.  It  is  very  rich  and  deep  in 
color,  and  used  in  oil  only.  Otherwise  it  possesses  the  same 
properties  as  light  red. 

BURNT  ROMAN  OCHRE 

is,  as  its  name  applies,  a burnt  or  calcined  Roman  ochre.  It  is 
moderately  bright,  of  good  depth  and  transparency  of  color  Is 
used  as  an  oil  color  only  and  is  very  permanent. 

VENETIAN  RED 

is  prepared  by  calcining  proto-sulphate  of  iron.  It  is  redder  and 
deeper  in  color  than  light  red,  and  like  it  should  not  be  com- 
pounded with  colors  affected  by  iron.  It  is  used  both  in  oil  and 
water,  and  is  very  permanent. 

INDIAN  RED 

is  a peroxide  of  iron.  It  is  a natural  earth  and  is  brought  from 
Bengal.  It  is  an  anomalous  red  of  a purple-russet  shade,  and 
highly  valued  for  the  pureness  and  laky  tone  of  its  tints.  It  has 
a tendency  to  deepen,  but  is  nevertheless  ]iermanent.  It  is 


PUKFLK  COLORS. 


25 


opafjue  and  a c^ood  drier,  and  is  used  both  as  an  oil  and  water 
color. 

dragon’s  blood 

is  a resinous  substance,  brought  from  the  East  Indies.  In  color 
it  is  a rather  dull,  warm  and  semi-transparent  red.  It  is  affected 
by  light  and  impure  air,  and  is  used  as  a water  color  only. 

GERANIUM  LAKE 

is  an  aniline  color.  It  is  a brilliant  scarlet  red,  of  no  stability. 
It  is  used  to  some  extent  in  oil,  but  fades  under  the  action  of  a 
strong  light  in  a short  time. 

rose  GERANIUM 

is  the  same  as  the  preceding,  but  as  a water  color,  and  is  some- 
w'hat  more  permanent. 

ROSE  CARTHAME 

is  also  an  aniline  color,  tending  to  blue,  and  therefore  cooler 
than  the  preceding.  In  other  respects  it  is  the  same,  and  finds 
use  as  a water  color  only. 

ROSE  DORE  (water  color) 

is  the  most  brilliant  of  the  aniline  reds  ; in  fact,  it  is  the  bright- 
est and  most  dazzling  of  all  reds,  and  would  be  invaluable  if  any 
mode  securing  it  from  change  could  be  devised. 

PURPLE  COLORS 

in  general.  - Purple  is  a secondary  color  and  is  composed  of  red 
and  blue.  It  is  the  coolest  of  the  secondar}'  colors  and  the 
nearest  also  to  black  or  shade.  It  is  a retiring  color,  which 
reflects  but  little  light  and  declines  rapidly  in  proportion  to  the 
distance  it  is  viewed  Its  contrasting  color  is  yellow. 

Of  the  j)urple  colors  there  is  none  which  is  both  permanent 
and  saturated  in  colt)r.  Moderately  good  purples  may  be  mixed 
with  jiermanent  reds  and  blues. 

rURFLE  MADDER 

is  a yeryrich  and  deep  carmine,  prepared  from  the  madder  root. 
TIu»ugh  not  a brilliant  purple,  its  richness,  transparency  and 
permanence  giye  it  the  preference  to  burnt  carmine.  It  works 
well  in  both  oil  and  water,  and,  with  the  exception  of  Mars 


26 


PURPLE  COLORS. 


\ioIet,  is  the  only  permanent  purple.  It  combines  well  with  all 
colors,  and  is  altogether  a most  eligible  color. 

PURNT  CARMINE 

IS  the  cochineal  carmine  partially  charred.  It  is  a reddish 
purple  of  great  depth,  but  is  not  more  permanent  than  ordinary 
carmine.  It  is  used  both  in  oil  and  water,  and  will  not  bear 
mixing  with  the  lead  colors. 

PURPLE  LAKE 

is  a crimson  lake  with  a purple  cast.  In  its  general  properties 
it  resembles  the  same,  but  is  more  permanent,  and  is  used  in 
both  oil  and  water. 

BURNT  LAKE 

IS  a charred  crimson  lake  which  is  rather  fugacious  and  finds 
use  in  oil  only. 

INDIAN  PURPLE 

is  prepared  by  precipitating  cochineal  extract  with  sulphate  of 
copper.  It  is  very  deep  toned  but  rather  cold  and  subdued,  and 
is  very  apt  to  blacken  by  exposure  to  light  and  air.  It  is  used 
both  in  oil  and  water. 

VIOLET  CARMINE 

IS  a decoction  from  the  root  of  the  “Anchusa  tinctoria,”  and  is  a 
rich  bluish  purple  of  much  brilliancy.  It  is  used  both  in  oil 
and  water,  but  blackens  when  exposed  to  light  and  air. 

MARS  VIOLET 

is  an  oxide  of  iron,  resembling  Indian  red  in  body,  opacity  and 
general  properties,  but  is  somewhat  darker  in  color.  It  dries 
well  in  oil  and  is  very  permanent. 

MAUVE 

is  an  aniline  color  of  a very  rich  and  brilliant  purple  of  great 
intensity,  but  not  much  permanency.  It  fades  in  a strong  light 
and  is  used  both  in  oil  and  water. 

LIGHT  VIOLET 

is  a lighter  variety  of  the  preceding,  with  the  same  properties, 
and  is  used  as  a water  color  only. 

MAGENTA 

is  an  aniline  color  of  a very  weak  kind.  It  fades  very  rapidly. 


BLUE  COLORS. 


27 


BLUE  COLORS 

in  general, — Blue  is  the  third  and  last  of  the  primary  colors, 
and  bears  the  same  relation  to  shade  that  yellow  bears  to  light. 
It  is  a retiring  color,  and  is  thrown  back  by  all  colors  in  greater 
or  less  degree.  Its  contrasting  color  is  orange. 

Blue  is  cold  and  quiet,  and  communicates  this  property, 
more  or  less,  to  all  colors  it  is  compounded  with.  It  is  pleasant 
to  the  eye,  and  where  delicate,  quiet  tones  are  needed,  and  in 
the  deep  dark  shades,  blue  is  of  use. 

The  number  of  blues  is  somewhat  limited  in  comparison  to 
the  reds  and  yellows,  but  they  are  almost  all  of  them  good. 

GENUINE  ULTRAMARINE 

is  prepared  from  the  “ la{)is  lazuli,  ” a precious  stone  found 
principally  in  China  and  Persia.  It  is  the  most  costly,  most 
permanent  and  most  celebrated  of  all  colors. 

Ciiemical  analysis  has  shown  that  tlie  C(doring  matter  of 
lapis  lazuli  consists  essentially  of  silica,  alumina,  sulphur  and 
soda,  and  that  the  color  is  probably  due  to  sodium  sulphide  and 
sodium  thiosuljMiate. 

Genuine  ultramarine  is  prepared  from  the  stone  by  a 
curious  mechanical  process,  wliicli,  when  well  executed,  sepa- 
rates tlie  blue  very  perfectly  from  all  extraneous  matter,  and 
yields,  first  a deep  and  ricir  product,  then  a paler  one,  and 
lastly  a bluish  grey,  which  is  known  as  ultramarine  ash. 

In  color  genuine  ultramarine  is  a most  beautiful  blue, 
ranging  from  the  utmost  depth  of  shadow  to  the  highest  bril- 
liancy of  liglit.  It  is  transparent  and  eminently  durable;  it 
dries  well  and  works  easily  in  oil,  and  may  be  safely  mixed 
with  other  colors.  It  does  not  wash  well  as  a water  color. 

ULTRAMARINE  ASH 

is  a preparation  of  the  refuse  of  “lapis  lazuli,’’  as  described  in 
the  preceding.  It  is  a blue  grey  of  a warm  tone,  which  washes 
in  water  much  better  than  genuine  ultramarine.  It  is  perma- 
nent, and  is  used  in  oil  also. 

BRILLIANT  ULTRAMARINE 

is  an  artificial  ultramarine,  and  like  them  all  is  composed  of 
silicate  of  alumina  and  silicate  of  soda,  with  sulphide  of  sodium. 


28 


BLUE  Colors. 


In  color  it  ])resents  the  nearest  approach  to  the  genuine  ultra- 
marine as  well  as  in  transparency,  purity  of  tone  and  other 
general  characteristics.  It  is  permanent  and  works  well  in  both 
oil  and  water. 

FRENCH  ULTRAMARINE 

is  a deep,  rich  artificial  ultramarine,  less  vivid  and  transparent, 
but  in  other  respects  the  same  as  the  brilliant  ultramarine.  It 
is  a generally  useful  color,  both  in  oil  and  water. 

FRENCH  BLUE 

is  synonymous  with  French  ultramarine. 

NEW  BLUE 

is  an  artificial  ultramarine  holding  an  intermediate  position 
between  French  blue  and  permanent  blue.  It  is  used  both  as 
an  oil  and  water  color. 

PERMANENT  BLUE 

is  an  artificial  ultramarine  of  a cobalt  shade.  In  other  respects 
it  is  like  new  blue,  and  is  used  in  oil  only. 

COBALT 

is  obtained  by  calcining  a mixture  of  alumina  and  basic  phos- 
phate of  cobalt.  It  is  a beautiful,  delicate,  pure  blue,  approach- 
ing in  brilliancy  the  finest  ultramarine,  but  is  not  as  transparent. 
It  dries  well  in  oil,  washes  better  than  ultramarine  in  water  and 
compounds  easily  with  all  other  colors,  and  is  permanent. 

CERULEAN  BLUE 

is  a compound  of  the  oxides  of  tin  and  cobalt.  It  is  a light 
pleasing  blue  of  a greenish  grey  color.  It  possesses  but  little 
depth  or  richness,  and  a certain  chalkiness  detracts  from  its 
transparency  and  militates  against  its  use  in  water.  It  is  in  oil 
and  as  a night  color  that  cerulean  blue  becomes  of  service. 

PRUSSIAN  BLUE 

is  pi oduced  by  the  combination  of  prussic  or  hydrocvanic  acid 
and  iron.  It  is  a deep  and  powerful  blue,  of  vast  body  and 
considerable  transparency.  It  possesses  a soft  velvety  richness, 
and  its  deepest  washes  are  so  intense  as  to  appear  black.  It 
dries  and  glazes  well  in  oil,  but  is  not  a verv  permanent  color, 
although  it  will  last  a long  time  under  favorable  circumstances. 
It  fades  under  the  action  of  strong  light  but  regains  its  color  in 


BLUK  COLORS. 


29 


the  dark,  and  ultimately  destroys  chr<.>me  yellow  when  mi.xed 
with  it. 

CHINESE  BI.UE 

is  identical  with  tlie  preceding. 

ANTWERP  BLUE 

is  a somewdiat  lighter  colored  Prussian  blue,  and  having^all  the 
other  qualities  of  that  color  but  its  extreme  depth.  It  is  less 
permanent,  and  is  used  both  in  oil  and  water. 

leitch’s  blue 

is  a mixture  of  cobalt  and  Prussian  blue.  When  exposed  to  the 
light  it  gradually  assumes  the  color  of  the  paler  but  more  per- 
manent cobalt.  It  is  only  used  in  water. 

INDIGO 

is  made  from  the  leaves  of  several  plants,  but  principally 
the  “ indigofera,”  found  in  India,  Africa  and  America.  Indigo 
does  not  exist  as  sucli  in  the  living  ])lant,  but  in  the  form  of  a 
glucoside  called  “ indican,”  which  is  colorless  When  tlie  leaves 
are  jilucked  and  macerated  in  water  a process  of  fermentation 
sets  in  and  the  indican  is  decomposed,  forming  indigo  and 
gluccjse. 

Indigo  is  not  as  bright  as  Prussian  blue  but  is  extremely  pow- 
erful and  transparent,  and  possesses  great  body  and  works  well 
in  oil  and  water.  It  is  more  permanent  than  Prussian  blue,  but 
in  tint  with  white  lead  it  is  decidedly  fugitive. 

INTENSE  BLUE 

is  a refined  indigo.  It  works  and  washes  admirably  in  water, 
and  has  the  common  properties  of  indigo  but  is  much  more 
durable,  powerful,  transparent  and  deep. 

SMALT 

is  a double  silicate  of  cobalt  and  potassium.  In  color  it  is  a 
vivid  and  gorgeous  violet  blue,  and  is  used  as  a water  color  only, 
but  it  soon  fades. 

BLUE  VERIUTER 

is  a blue  oxide  of  copper.  It  is  a beautiful,  light  blue  color, 
which  is  but  little  affected  by  light  ; but  time,  damp  and  impure 
air  turn  it  green  and  ultimately  blacken  it.  This  ensues  even 
more  rapidly  in  oil  than  in  water. 


3° 


GREEN  COLORS. 


BREMEN  15LUE 

is  syu(jnymous  to  the  preceding. 

AZURE  BLUE 

is  an  artificially  prepared  carbonate  of  copper.  It  is  not  per- 
manent, and  eventually  turns  black.  It  is  used  as  a water  color 
only. 

GREEN  COLORS 

in  general. — Green  is  composed  of  the  extreme  primaries,  yellow 
and  blue.  It  occupies  the  middle  station  in  the  natural  scale  of 
colors  and  in  relation  to  light  and  shade.  It  contrasts  with  red. 
In  its  tones,  green  is  cool  or  warm,  sedate  or  gay,  either  as  it 
inclines  to  blue  or  yellow.  Yet  it  is  in  its  general  effects  cool, 
calm,  temperate  and  refreshing;  and  having  little  power  in 
reflecting  light,  is  a retiring  color  and  readily  subdued  by  dis- 
tance. As  a color  individually,  green  is  eminently  beautiful 
and  agreeable. 

The  green  colors  in  ordinary  use  are  not  very  numerous  ; 
but  these  can  be  supplemented  bv  mixtures  of  permanent  blues 
and  yellows. 

TERRE  VERTE 

is  an  ochre  of  a bluish-green  color,  not  very  bright  and  with  a 
grey  cast.  It  is  very  durable  but  seems  to  have  a tendency  to 
darken  in  time  It  is  semi-transparent  and  dries  well  in  oil.  It 
combines  safety  with  all  colors  and  is  very  useful  as  a glazing 
color.  It  is  used  both  in  oil  and  water. 

OLIVE  GREEN 

is  a brighter  variety  of  terre  verte. 

CHROME  GREEN 

is  a compound  of  chrome  yellow  with  Prussian  blue,  usually 
made  in  thiee  shades,  viz  , light,  medium  and  dark.  They  are 
fine  bright  colors,  but  as  chromate  of  lead  has  a chemical  effect 
on  Prussian  blue,  ultimately  destroying  it,  the  yare  therefore 
unfit  for  artists’  use.  They  are  used  in  oil  only. 

COBALT  GREEN 

is  a mixture  of  the  oxides  of  zinc  and  cobalt.  It  is  a moderatel  v 
bright  green  and  is  very  permanent.  It  mixes  well  with  all 


GREEN  COLORS. 


3* 


colors,  but  is  sadlv  deficient  in  body  and  power.  It  is  used  in 
oil  only. 

ZINC  GREEN 

is  identical  to  cobalt  green. 

PERMANENT  GREEN 

is  a compound  of  cobalt  and  chrome  yellow.  It  is  a pure  thougli 
not  very  powerful  green,  and  durable  both  in  water  and  oil  ; in 
the  latter  it,  dries  well.  It  is  made  in  two  shades — light  and 
dark 

EMERALD  GREEN 

is  an  aceto-arsenite  of  co[)per.  It  is  a very  vivid  and  bright 
green,  being  rather  opaque  and  powerfully  reflective  of  light, 
and  is  very  permanent.  It  is  not  affected  to  any  appreciable 
e.xtent  by  damp  or  impure  air,  and  works  well  in  water  but  witli 
difficulty  in  oil,  in  wliich  it  also  dries  badly. 

MALACHITE  GREEN 

is  a native  carbonate  of  copper  combined  with  a white  earth, 
but  it  can  also  be  artificially  prepared  with  cobalt  and  Indian 
yellow.  In  both  forms  it  withstands  the  action  of  light  and  air, 
but  is  blackened  by  damp  and  impure  air.  It  is  only  used  as  an 
oil  color,  but  it  cannot  be  recommended  as  such. 

VERDIGRIS 

is  a subacetate  of  copper.  It  is  a bright  green  color,  inclining 
to  blue.  It  is  the  least  permanent  of  the  copper  greens,  soon 
fading  as  a water  color  or  by  the  action  of  light,  and  becoming 
first  white  and  eventually  black  by  damp  or  foul  air.  In  oil  it 
is  durable  with  respect  to  light  and  air,  but  moist  and  impure 
air  changes  its  color.  It  dries  rapidly,  but  is  not  on  the  whole 
a safe  color  to  use. 

OXIDE  OF  CHROMirM 

is  an  imj)ure  native  chrome  ochre,  but  is  always  prepared  arti- 
ficially for  artists’  use.  It  is  a cold,  sober  sage  green,  deep 
toned,  opaijue,  and  although  dull,  is  agreeable  to  the  eve.  Its 
tints  witli  white  are  very  delicate  and  pleasing.  It  is  very  dense, 
powerful  and  jiermanent,  and  mixes  well  with  all  colors.  It  is 
used  both  as  an  oil  ami  water  color,  but  does  not  work  well  in 
the  latter. 


32 


GREEN  COLORS. 


TRANSPARENT  OXIDE  OF  CHROMIUM 

is  a compound  of  (jxyt^cn  and  chromium.  It  is  a very  pale,  yel- 
low-greyish green  of  some  depth,  but  which  is  not  very  pure  or 
clear.  It  is  permanent  and  mixes  well  with  all  colors,  and  is 
used  in  oil  only. 

VIRIDIAN 

is  a hydrated  sesquioxide  of  chromium,  containing  a small  quan- 
tity of  water.  It  is  a bluish  green  of  rich  transparency  and 
great  depth.  It  is  very  permanent  and  used  both  in  oil  and 
water,  and  mixes  well  with  all  colors. 

FRENCH  VERONESE  GREEN 
is  synonymous  with  the  preceding. 

EMERAUDE  GREEN 
is  identical  with  viridian. 

HOOKERS  GREEN 

is  a mixture  of  Prussian  blue  and  gamboge,  which  two  colors, 
having  the  same  degree  of  stability,  are  perfectly  innocuous  to 
each  other.  There  are  two  shades  made,  light  and  dark,  and 
they  are  used  in  water  only.  They  are  more  durable  and  trans- 
parent than  the  chrome  greens. 

PRUSSIAN  GREEN 

is  like  the  preceding,  a mixture  of  Prussian  blue  and  gamboge, 
but  with  the  Prussian  blue  predominating.  It  is  a bluish  green 
of  the  utmost  depth  and  transparency,  verging  on  black  in  its 
deepest  washes.  It  is  equally  permanent  to  Hookers  green,  and 
used  both  as  an  oil  and  water  color. 

BRONZE  GREEN 

is  synonymous  with  Prussian  green. 

SAP  GREEN 

is  of  vegetal  origin,  and  is  prepared  from  the  juice  of  the 
berries  of  the  “buckthorn,”  the  green  leaves  of  the  “ woad,” 
etc.  It  is  of  a dark  color,  extremely  transparent,  and  is  a fine 
natural  yellowish  green.  Though  much  employed  as  a water 
color  it  is  a very  imperfect  color,  disposed  to  attract  the  moist 
ure  of  the  atmosphere  and  to  mildew.  It  has  but  little  perma- 
nency, and  is  used  in  water  only. 


BROWN  COLORS. 


33 


VFRONKSF.  (;REEN 

is  a compound  of  silica,  oxide  of  iron,  magnesia,  potash  and 
water.  In  color  it  is  a bluish  green,  with  a grey  cast.  It  is 
semi-transparent,  dries  well  in  oil,  and  is  useful  for  glazing.  It 
is  permanent  and  mixes  well  with  all  other  colors.  Slrong 
light  and  impure  air  have  no  effect  upon  it,  though  it  has  a ten- 
dency t(j  darken  in  time. 

ULTRAMARINE  GREEN 

is  an  unfinished  artificial  ultranTarine  blue.  Artificial  ultrama- 
rine blue  is  made  by  calcining  ultramarine  green  at  a very  low 
temperature,  and  slowly  adding  powdered  sulphur  until  the 
proper  shade  of  blue  is  obtained.  Ultramarine  green  is  of  a 
rich  bluish  green  color,  very  transjiarent  and  equally  permanent 
to  ultramarine  blue.  It  is  used  as  an  oil  color  onl)r. 

(;reen  lake 

is  a mixture  of  Prussian  blue  and  yellow  lake.  It  is  fairly  per- 
manent and  used  both  in  oil  and  water. 

OLIVE  LAKE 

is  a mixture  of  a deep  olive  color.  It  is  a rich,  beautiful  color, 
but  is  not  very  permanent.  It  is  used  both  as  an  oil  and  ivater 

color. 

ZINOBER  GREEN 

is  a mixture  of  chrome  yellow  and  Prussian  blue,  and  is  made 
in  three  shades,  viz.,  light,  medium  or  dark,  which  latter  is  very 
deep  and  bluish  They  are  identical  with  the  chrome  greens 
except  in  tone,  and  the  same  applies  to  both  in  regard  to  their 
permanency.  1 hey  are  used  both  in  oil  and  water. 

HKOWN  COLORS 

in  general.— Hrow'n  in  its  widest  conception  has  been  used  to 
comjirehend  every  denomination  of  dark,  broken  color,  an  I in  a 
more  limited  sense  is  the  rather  indefinite  appellation  of  a very 
extensive  class  of  colors  of  warm  or  tawny  shade.  There  are 
browns  of  every  shade  except  blue,  as  such  a predominance  of 
a cold  color  would  immediately  carry  the  compound  into  grey 
llrown  properly  denotes  a warm,  broken  color,  of  which 
yellow  is  the  principal  constituent.  It  is  a sober,  sedate  color, 
grave  and  solemn  but  not  dismal,  and  contributes  to  the  ex- 


.u 


UROWN  COLORS. 


prcssion  of  strcngtii,  stability  and  solidity  and  in  the  minor  de- 
gree to  the  serious  and  sad. 

Brown  cohjrs  are  very  numerous,  and  are  almost  without 
exception  characterized  by  great  durability. 

RAW  UMIiKR 

is  a natural  ochre  abounding  with  oxide  of  manganese,  which 
comes  principally  from  Cyprus  and  is  called  d iirkey  umber. 
It  is  of  a fine  brownish-citrine  color,  semi-opaque,  with  all  tlie 
properties  of  a good  ochre,  is  perfectly  permanent  in  both  oil 
and  water,  and  is  one  of  the  best  drying  colors  It  mixes 
well  with  all  colors,  and  has  a tendency  to  darken  with  age. 

BURNT  Umbkr 

is  prepared  by  calcining  raw  umber.  It  is  much  deeper  and 
richer  than  the  latter.  It  works  and  washes  well  in  water,  dries 
rapidly  in  oil,  and  is  perfectly  durable  in  either.  It  mixes  well 
with  all  cohjrs. 

VANDYKE  BROWN 

is  a species  of  peat  or  bog  earth,  of  a fine,  deep,  semi-trans- 
parent brown  color.  It  dries  tardily  in  oil,  but  is  durable  in 
both  oil  and  water. 

CASSEL  EARTH 

is  an  ochrous  color  similar  to  the  preceding.  It  is  used  as  an 
oil  color  only. 

COLOGNE  EARTH 

is  prepared  by  calcining  Vandyke  brown.  It  is  similar  in  its 
general  prcjperties  to  the  latter,  but  much  deeper  in  color,  and 
is  used  both  in  oil  and  water. 

CALEDONIAN  BROWN 

is  a permanent  native  pigment,  only  used  in  oil  painting.  It  is 
a magnificent  orange,  russet-brown,  of  considerable  trans 
parency,  and  is  marked  by  great  richness  and  depth. 

CAPPAH  BROWN 

is  a species  of  bog  earth,  containing  jicroxide  of  manganese, 
which  is  found  at  Cappah,  near  Cork.  It  varies  considerably  in 
tone,  but  always  possesses  much  richness  and  transparency.  It 
is  used  in  oil  only,  and  dries  rapidly. 


liROWN  COLORS. 


35 


VhkONA  imOWN  , 

is  obtained  by  calcining  Veronese  green.  It  is  a very  service- 
able citrine-brown  and  is  very  permanent.  Is  used  as  an  oil 
color  only,  and  compounds  well  with  all  other  colors. 

I5K0WN  PINK 

is  generally  prepared  from  Avignon  berries  (Rhamnus  infec- 
torius  or  Rhamnus  amygdalinus),  but  is  sometimes  made  also 
from  quercitron  bark.  The  latter  is  fairly  permanent,  while  the 
kind  produced  from  the  berries  is  fugacious.  It  is  used  both  in 
oil  and  water,  drying  badly  in  the  former,  however.  It  is  of  a 
rich  trarjsparent  color,  rarely  of  a true  brown,  but  in  general  of 
an  orange  broken  by  green,  and  is  of  great  depth  and  works 
well. 

BURNT  TERRE  VERTE 

is,  as  the  name  implies,  a calcined  terre  verte.  In  color  it  is  of 
a deep,  sometimes  reddish,  sometimes  greenisli-brown  color, 
which  is  very  useful  but  of  not  much  body,  while  it  j)ossesses 
much  warmth  and  transparency.  It  is  used  in  oil  only,  but  dries 
slowly  and  is  permanent. 

BONE  BROWN 

is  obtained  by  charring  ivory  chips  or  dust  until  it  becomes  of 
a brown  color.  It  is  a very  deep,  ricli  brown,  whicli  although 
much  esteemed  is  not  very  eligible.  It  is  not  very  permanent 
and  is  a bad  drier.  It  is  used  in  oil  only. 

PRUSSIAN  BROWN 

is  prepared  by  calcining  Prussian  blue.  It  is  an  orange-brown 
of  the  nature  and  properties  of  burnt  sienna,  but  not  so  rich  nor 
powerful.  It  is  oidy  used  in  oil  and  mixes  well  with  all  colors. 

ROMAN  BRt)WN 

is  a mixture  of  Cologne  earth  and  lake.  It  is  a very  rich,  deep, 
semi-transparent  red-brown.  It  is  fairly  permanent  and  is  used 
only  in  oil. 

BROWN  MADDER 

is  [)repared  from  the  madder  root.  It  is  of  a p\ire,  rich  and 
transparent  russ<*t  brown,  of  great  depth  and  intensity.  It  is 
very  permanent,  neither  liglit  nor  impure  air  aflecting  it,  and  it 
C(nnp<Mmds  well  witli  all  colors.  It  works  very  jdeasantly  in 


3^ 


BROWN  COLORS, 


both  oil  and  watcw,  and  dries  well  in  tlie  former.  It  is  a color 
which  cannot  be  too  strongly  recommended  to  artists. 

RUBENS  MADDER 

is  similar  to  the  j>receding  but  more  reddisli  in  tone.  It  is  very 
pure,  transparent  and  permanent,  and  is  used  as  an  oil  color 
only. 

MARS  BROWN 

is  either  a natural  or  an  artificial  ochre,  containing  iron,  or  iron 
and  manganese  In  color  it  is  similar  to  raw  umber  but  more 
orange  in  tone.  It  is  of  much  richness  and  absolute  perma- 
nence, and  is  used  in  oil  only, 

ASPHALTUM 

is  a variety  of  pitch  which  rises  to  the  surface  of  the  Dead  Sea. 
concretes  by  the  action  of  the  sun  and  atmosphere,  and  floating 
to  the  shore  is  gathered.  It  is  also  artificially  prepared  by  dis- 
tilling resinous  and  bituminous  matter  obtained  in  the  manu- 
facture of  coal  gas.  In  color  it  is  of  a rich  brown,  perfectly 
transparent  and  of  powerful  body.  It  has  a strong  tendency  to 
darken,  and  changes  in  temperature  and  atmosphere  cause  it  to 
contract  and  crack.  It  cannot,  therefore,  be  recommended  to 
the  artist  as  an  oil  color.  In  water  it  is  fairly  permanent. 

BITUMEN 

is  asphaltum  ground  in  drying  oil,  as  asphaltum  is  a very  slow 
drier. 

MUMMY 

is  a bituminous  substance  combined  with  animal  remains, 
brought  from  the  catacombs  of  Egypt,  where  liquid  bitumen 
was  used  three  thousand  years  ago  for  embalming,  in  which 
capacity  it  combined  by  a slow  process  or  chemical  change, 
during  so  many  ages,  with  substances  which  give  it  a more  solid 
and  lasting  texture  than  simple  asphaltum.  It  resembles 
asphaltum  in  its  general  properties  and  is  often  substituted  for 
it  as  being  less  liable  to  contract  or  crack.  It  cannot,  however, 
be  well  recommended,  and  is  used  in  oil  only. 

BISTRE 

is  a preparation  from  the  soot  of  wood  fires,  extracted  by  n 
watery  so'lution.  It  is  a powerful  citrine  brown,  with  mucli 
clearness.  It  washes  well  in  water,  in  which  it  is  much  used, 


r.RKY  COl.ORS. 


37 


though  it  is  iilso  einphjycd  in  oil.  It  has,  however,  a tendenc} 
to  attract  moisture  from  the  atmosphere,  and  is  therefore  liable 
to  cause  mildew.  In  oil  it  is  a slow-drying  color.  It  is  very 
permanent. 

SEPIA 

is  the  product  of  the  ink  bag  of  the  cuttle  fish,  ‘’Sepia  officin- 
alis,” It  is  a very  powerful,  dusky  brown,  of  fine  texture,  \er\ 
clear  and  transparent  and  permanent.  It  works  admirably  in 
water  and  combines  cordially  with  other  colors.  It  is  but  little 
used  as  an  oil  color,  as  it  dries  very  slowly. 

WARM  SEPIA 

is  like  the  preceding,  but  warmed  by  admixture  with  browns  of 
a red  tone.  It  is  used  in  water  only. 

ROMAN  SEPIA 

is  a similar  preparation,  but  with  a yellow  tendency. 

GREY  COLORS 

in  general.— Grevs  are  the  natural  correlatives  of  the  browns. 
(Jrey  is  the  color  of  space  and  has  the  property  of  diffusing 
breadth  in  a picture,  while  at  the  same  time  it  furnishes  good 
connecting  tints  for  harmonizing  the  general  coloring.  1 he 
greys  are  therefore  among  the  most  essential  colors,  which, 
however,  must  not  be  suffered  injudiciously  to  predominate 
in  cases  where  the  subject  or  sentiment  does  not  reipiire  it. 
Greys  are  sober,  modest  colors  contributing  to  the  expression 
of  gloom,  sadness  and  fear,  bordering  in  these  respects  upon 
the  powers  of  black.  There  is  hardly  any  necessity  for  grey 
colors,  as  they  are  so  readily  mixed,  and  there  are  therefore  but 
few,  and  these  are  water  colors. 

CHARCOAL  GREY 

is,  as  its  name  infers,  a ground  charcoal.  It  is  a cool  grey  and 
has  the  effect  of  a charcoal  drawing  in  water  color.  In  its 
deepest  shades  it  is  black.  It  washes  with  ease  and  is  very 
permanent. 

NEUTRAL  TINT 

is  a compound  shadow  color  of  a cool  character.  It  is  perma- 
nent and  works  well  in  water. 


ni.ACK  COl.OkS. 


3-^ 


pavnk’s  grky 

rescnil)lcs  the  {)rcceding-,  but  differs  from  it  in  bcin_ir  more  lilac 
in  tone.  It  is  a very  useful  color  in  water.  Both  neutral  tint 
.ind  1 ayne  s grey  are  to  be  had  in  oil  and  are  used  to  some 
e.xtent.  1 hey,  however,  soon  lose  their  character  in  the  same, 
amd  c:annot  therefore  be  recommended. 


BLACK  COLORS 

in  general.  Black  is  the  absence  of  light  — the  oppcisite 
extreme  of  white.  To  be  perfect  it  must  be  neutral  to  colors 
individually,  and  absolutely  transparent  or  destitute  of  reflec- 
tion in  regard  to  light.  Its  use  in  painting  being  to  represent 
shade  or  depth,  of  which  it  is  the  element  in  a painting  and  ip 
colors,  as  white  is  of  light.  All  other  colors  are  by  admixture 
with  black  lowered  in  tone.  Pure  black  is  seldom  used,  and  a 
painting  which  in  its  general  tone  is  rather  dark,  can  be  light- 
ened b)  a judicious  use  of  a little  black.  To  concentrate  depth, 
^vhite  and  black  are  often  placed  beside  one  another 

1 here  are  but  few  black  colors,  which  are  all  permanent, 
both  in  oil  and  water,  and  are  all  derived  from  carbonaceous 
substances. 


IVORY  IJLACK 

IS  obtained  by  charring  ivory  to  blackness  by  strong  heat  in 
closed  retorts.  It  is  the  richest  and  most  transparent  of  all 
blacks,  and  is  perfectly  permanent  and  eligible,  both  in  oil  and 
water.  It  is  a full,  silky  black,  which  iias  a tendency  to  brown 
in  its  pale  washes. 

BONE  BLACK 

IS  similar  to  the  preceding,  but  bone  is  substituted  for  ivory  and 
it  is  more  brownish  in  color.  It  is  used  in  oil  only. 


BLUE  BLACK 

is  prepared  by  burning  grapevine  twigs  to  charcoal.  It  is  a 
bluish  black  of  weak  body,  very  clear  and  velvety.  It  has  a 
preservative  influence  on  white  lead,  and  is  very  permanent.  It 
is  used  both  in  oil  and  water. 


LAMP  BLACK 

is  a smoke  black,  being  the  soot  of  resinous  woods,  obtained  in 
the  manufacture  of  tar  and  tur{)entine.  It  is  a pure  carbona- 


MlXtl)  TINT‘S. 


39 


ccmis  substance  of  a fine  texture,  intensely  black  and  perfectly 
permanent.  It  is  not  so  intense  nor  transparent  as  ivory  black, 
but  less  brown  in  its  pale  washes.  It  has  a very  strong  body 
that  covers  readily  every  underlay  of  color,  and  it  dries  slowly 

in  oil. 


CORK  liLACK 


is  a soft  black  obtained  by  charring  cork.  It  is  a blue  but  not 
velvety  black,  and  should  not  be  used  where  intensity  is 
leipiired.  It  is  an  oil  color  only. 


RARER  R.I.ACK 

is  a greyish  blue-black  of  fine  tone,  obtained  by  charring  linen 
pajier.  It  is  very  similar  to  blue  black  and  is  used  in  oil  onl). 


m.ACK  READ 

is  a species  of  plumbago  or  graphite,  and  contains  traces  of 
iron,  silica  and  alumina  It  has  a pure  greyish  lone  and  dries 
rapidly.  It  is  not  much  used,  and  in  oil  only. 


MIXKl)  TINTS. 


The  following  table  of  mixed  tiuis  has  been  very  carefully 
prepared.  Variations  may  be  given  according  to  the  (piantity 
of  each  color  used.  Those  printed  in  italics  are  to  be  but  spar- 
ingly used.  flic  names  given  to  these  tints  are  such  as  are 
familiar  to  everybody.  The  mixtures  apply  about  equally  well 
to  water  as  to  oil. 


1 Tea  Rose  Yellow 

2 Ivory  Yellow 

:t  { ’berry  Yellow  . 
4 Straw  Yellow  . 
r}  Reed  Yellow 
(»  (^'iiiary  Yellow 
7 .lotKinil  Yellow 
H Lemon  Yellow  . 
(’itrou  Yellow 

I 1 Kru  Yellow  . . 

II  Holland  Yellow 

12  Apineot  Yellow 

13  Wheat  Yellow  . 

14  (’om  Yellow 

1.'".  ( )ld  (lold  . . . 

10  {’ream  . . . . 


White,  Lemon  Chrome. 

White,  Lemon  Chrome,  Hair  Sinnia. 
White,  Chrome  Yellow, 

White,  Chrome  Yellow,  Yrlloir  Orhrr. 
White,  Chrome  Yellow.  Viraliau. 

White.  Li'inon  Yellow. 

White.  Lemon  Yellow,  Traiix.  (iohl  Ochre. 
Whit<>,  Cadmium,  pale. 

White,  Citron  Yellow. 

White,  Cadmium  Yellow,  halian  Vclloir. 
White.  Yellow  Ochre,  No/>/c.<<  Yrlloir. 
White,  Yellow  Ochre. 

White.  Yellow  Ochre,  Hnl  Xitjilrs  Yrlloir. 
White.  Trans.  Oold  Ochre,  Imliaii  Yrlloir. 
White.  Trans.  Oold  Ochre,  ({amhiHjc. 
White,  Naples  Yellow. 


40 


MIXF.l)  TINTS 


17  Huff 

18  Terra  Cotta  Yellow 
10  Corn  Straw  Yellow  . 

20  Orange  

21  Chamois  Yellow  . . 

22  Palm  Fan  Yellow 

2o  Rattan  Yellow  . . 

24  Bamhoo  Yellow  . 

25  Roan  Yellow  . . . 

20  Salmon 

27  Nastnrtioa  Orange  . 

28  Sunset  Orange  . . . 

20  Flamingo  . . . . 

30  Pompeian  Orange . . 

31  Pale  Flesh  . . . . 

32  Light  Flesh  . . . . 

33  Dark  Flesh  . . . . 

34  Peach 

35  Hazelnut 

30  Japan  Rose  . . . . 

37  Pink  

38  Rose  Pompadour  . . 

30  Wild  Rose  . , . . 

40  Rose 

41  Geranium  Idnk  , . 

42  Claret  

43  l^ompeian  Red  . . . 

44  Rose  Wood  . . . . 

45  Deep  Cherry  . . . 

40  Geranium  Rose  . . 

47  Strawberry  , . . . 

4H  Blood  

49  Jack  Rose  . . . . 

50  Ruby 

51  Grey  Lilac  . . . . 

52  Red  Lilac  . . . . 

53  Amethyst  . . . . 

54  Amaranth  . . . . 

55  Plum 

50  Light  Azure  Blue  . . 

57  Azure  Blue  . . . . 

58  Sky  Blue 

59  Faded  Blue  . . . . 

GO  Italian  Sky  Blr.c  . . 

G1  Light  Sky  Blue 

C2  Pearl  Blue  . . . . 

63  Smoke  Blue  . . . . 


White,  Najdes  Yellow,  Yelloir  Ochre. 

White,  Naples  Yellow,  Vermilion. 

White,  Cadmium  Yellow. 

White,  Cadmium  Orange. 

White,  Kings  Yellow,  Indian  Yellow. 

White,  Kings  Y^ellow,  Raw  Umber. 

White,  Raw  Umber,  Trans.  Gold  Ochre. 
White,  Italian  Pink,  Raw  Umber. 

White,  Italian  Pink,  Yellow  Ochre,  Light  Red. 
White,  Vermilion,  Indian  Y"ellow. 

White,  Fr.  Vermilion,  Gamboge. 

White,  Fr.  Vermilion,  Cadmium  Orange. 
White,  Cadmium  Orange,  Geranium  Lake. 
AVhite,  Fr.  Vermilion,  Perskui  Orange. 

White,  Light  Red. 

White,  Light  Red,  Y’ellow  Ochre, 

White,  Brun  Rouge,  Terre  Verte. 

White,  Brun  Rouge,  Indian  Yellow. 

White,  Brun  Rouge,  Raw  Umber. 

White,  Madder  Lake,  Gamboge. 

White,  Madder  Lake. 

White,  Crimson  Lake. 

White,  Crimson  Lake,  Madder  Lake. 

White,  Madder  Lake,  Geranium  Lake. 

White,  Geraniirm  Lake. 

White,  Carmine. 

White,  Carmine,  Vermilion. 

White,  Carmine,  Brown  Madder. 

Carmine,  Brown  Madder. 

Geranium  Lake,  Madder  Lake. 

Geranium  Lake,  Crimson  Lake. 

Geranium  Lake,  Madder  Lake,  Carmine. 
Geranium  Lake,  Bt.  Carmine. 

Carmine,  Geranium  Lake. 

White,  Purple  Lake,  Ivory  Black. 

White,  Purple  Lake,  Geranium  Lake. 

White,  Purple  Lake,  Crimson  Lake. 

White,  Purple  Lake,  Madder  Lake. 

White,  Purple  Lake,  Mauve. 

White,  Antwerp  Blue 

White,  Antwerp  Blue,  Permanent  Blue. 

White,  Prussian  Blue. 

White,  Prussian  Blue,  Indigo. 

White,  Cobalt,  Viridian. 

White,  New  Bhie. 

White,  New  Blue,  Blue  Black. 

White,  New  Blue,  Blue  Black,  Indigo. 


MlXKl)  TINTS, 


41 


04  MiKiiouetU*  . . . . 

0'>  Steel  Blue  . . . 

00  Cornflower  Blue  . 

07  Princess  Blue 

05  Rt)yjil  Blue  . . . 

0!)  Old  Blue  . . 

70  Navy  Blue  . . . 

71  Light  Cerulean  Blu 

72  Cerulean  Blue 

73  Cold  Blue  . . . 

74  Ttmjuoise  Blue  . 

75  Bottle  Green  Blue 
70  Pale  Lavender 

77  Lavender  . . . 

7S  Wisteria  , . 

70  Forget  Me-Not 
SO  Victoria  Blue  , . 

K1  Opal 

82  Lt.  Tunpioise  (4reei 
S3  Tuniuoise  Green  , 
s4  Water  Green  . . 

85  Liglit  Blue  Green 
SO  Pale  Green  . . . 

87  Duck  p]gg  Green  . 

SS  Grey  Green  . . 

80  Myrtle  Green  . . 

00  Bhie  Green . . , 

01  Pea  Green  , . . 

02  Sunlight  (4reen 

04  Foliage  Green  . , 

04  Grass  Gret>n  . . 

0.)  Shadow  (4reen 

00  Light  Apple  (rreeu 
07  Pistaeho  (Treen  . 

05  Panuiuet  Green  . 

0!>  Ai)ple  Green  . . 

1<M»  Emerald  Green 

101  NiletJreeu  . . . 

102  Distance  Green 

103  CopjKT  (in'eu  . . 

104  Maple  Gns'u  . 

1<‘5  Bottle  ( Ireen  . . 

100  Lichen  Gns.-n  . , 

107  Duck  Gre(*n 

105  Hunters  Green 


White,  Fr.  Ultramarine,  Crimson  Lake. 

White,  Fr.  Ultramarine,  Indigo. 

White,  Fr  Ultramarine. 

White,  Fr  Ultramarine,  Cobalt. 

White,  Fr.  Ultramarine,  Prussian  Blue. 

Fr  Ultramarine,  Prussian  Blue,  Irory  Black. 
Pru.ssian  Blue,  Fr.  Ultramarine. 

White,  Cerulean  Blue. 

White,  Cerulean  Blue. 

White,  Indigo,  Lamp  Black. 

White,  Cerulean  Blue,  Viridian. 

Cerulean  Blue,  Viridian,  Green  Uike. 

White,  Cobalt. 

White,  Cobalt,  Purjde  Lake. 

White,  Cobalt  Blue,  Madder  Lake. 

White,  Cobalt  Bhie. 

White,  Cobalt  Blue,  Purple  Lake. 

White,  Viridian. 

White,  Viridian,  Cohalt  Blue. 

White,  Viridian,  Cerulean  Blue. 

White,  Emerald  Green,  Viridian. 

White,  Emerald  Green,  ^^iriiiian,  Prussian  Blue 
White,  Chrome  Green,  Emerald  Green. 

White,  Chrome  Green. 

White,  Chrome  Green,  Green  Lake. 

White,  Chrome  Green.  Ivory  Black. 

Eaieraiade  Green,  Prussian  Blue. 

White,  Green  Lake. 

White,  Green  Lake,  Gamboge.  ___ 

White  Green  Lake,  Indian  Yellow. 

White,  Viridian. 

Chrome  Green,  Viridian. 

VvMiite,  Emerald  Green,  Green  Lake. 

White,  Emerald  Green 
Emerald  (Jreen,  White,  Viridian. 

Emerald  Green,  White  Green  Lake,  Chrome 
Green. 

Emeraude  Green.  Emerald  Green 

White,  Emerald  (Treen 

^Vhite,  Chnmie  Green.  (4amboge. 

White,  Chrome  Green,  Green  Lake,  Emerald 
( » reen 

White,  Chrome  (4reen,  Lamp  Blaek. 

White,  Chrome  Green,  Cobalt  Blue. 

White,  Yellow  Ochre.  Chrome  Green. 

White,  Zinolx'r  Grt'en.  Vellotr  Ochn\ 

White,  Zinolier  Green.  Vellou'  Ochre,  Colmlt. 


42 


MIXED  TINTS. 


10!)  Lobster  Green  . . 

1 1 0 Russian  Green  . . 

1 1 1 Light  (:frey  Green  . 

112  Light  Bremen  Blue 

Green 

1 1 3 Bremen  Blue  Green . 

114  Tea  Green  . . 

1 1 5 Sage  Green  . . 


110  Pale  Lilac  . . . . 

117  Grey  Lilac  . . . . 

118  Light  Lavender  . . 

11!)  Deep  Lavender 

120  Bhie  Lavender 

121  Pansy  Violet  . . 

122  Iris  Violet  . . . 

123  Violet 

124  Pans3^  Purple  . . . 

125  Royal  Purple  . . . 

120  Cantaloupe  . . . . 

127  Light  Olive  Green  . 

128  Moss  Green  . . 

120  Olive  Green  . . . 

130  Sap  Green  . . . . 

131  Light  Grey  Brown  . 

132  Portland  Stone  . . 

133  Ecru 

104  Drab  Brown  . . . 

135  Sparrow  Brown 

130  Fire  Brick  . . . 

137  Melon 

138  Leather  Brown  . . 

130  Tan  Brown  . 

140  Auburn 

141  Peach  Blossom 

142  Cinnamon  . . . . 

143  Indian  Brown  . . . 

144  Red  Brown . . . , 

145  Bark  Brown  . . . 

140  Terra  Cotta  Red 

147  Moose  Brown  . 

148  Walnut 

140  Chocolate  .... 

150  Snulf  .... 

151  Silver  Grey  . . . 

152  Pearl  G rev- 

153  Dove  Grey  .... 


Zinober  Green,  Yelloiv  Ochre,  Cohalt. 

Zinober  (4reen,  Prussian  Blue. 

White  Cltra.  Green,  Gamboge. 

White,  Ultra.  Green. 

White,  Ultra.  Green,  Cobalt. 

White,  Zinober  Green,  Trans.  Gold  Ochre. 
White,  Zinober  Green,  Trans.  Gold  Ochre, 
Ivory  Black. 

White,  Purple  Lake. 

White,  Purple  Lake,  Lamp  Black 
White,  Purple  Lake,  Mauve. 

White,  Madder  Lake,  Cobalt. 

White,  Col)alt,  Madder  Lake. 

White,  Mauve. 

White,  Mauve,  Bt.  Carmine. 

Mauve. 

Mam-e,  Fr.  Ultramarine. 

Mauve,  Cobalt. 

White,  Olive  Green. 

White,  Olive  Lake,  Terre  Verte. 

Olive  Lake,  Terre  Verte. 

Oliv’e  Lake,  Terre  Verte,  Bt.  Terre  Verte. 

Olive  Lake,  Green  Lake. 

White,  Raw  Sienna. 

White,  Trans.  Gold  Ochre,  Itaiv  Umber. 

Trans.  Gold  Ochre,  Raw  Umber. 

White,  Burnt  Umber. 

White,  Burnt  Umber,  Burnt  Sienna. 

White,  Yellow  Ochre,  Raw  Sienna. 

White,  Yellow  Ochre,  Burnt  Sienna. 

Yellow  Ochre,  Burnt  Sienna,  Rate  Umber. 

Raw  Sienna,  Burnt  Umber. 

Burnt  Sienna,  Crimson  Lake. 

White,  Brun  Rouge,  Madder  Lake. 

Light  Red,  Trans  Gold  Ochre,  White. 

Light  Red,  Indian  Red. 

Indian  Red,  Burnt  Sienna. 

Burnt  Umber,  Vandyke  Brown 
White,  Light  Red,  Raw  Sienna. 

Burnt  Sienna,  Brown  Madder. 

Burnt  Sienna,  Indian  Red,  Ivory  Black. 
Vandyke  Brown,  Bivrnt  Sienna,  Indian  Red. 
Vandyke  Brown,  Ivory  Black. 

White,  Ivory  Black. 

White,  Ivory  Black.  Prussian  Blue. 

AVhite,  Lamp  Black. 


MIXKI)  TINTS. 


43 


154  Lavender  Grey  . 

155  Nile  Green  Grey  . 
15<»  Light  Sky  Grey  . 

157  Sky  Grey  . . . 

158  Blue  Grey  . . . 

15!)  Violet  Grey  . . 

IhO  Lilac  Grey  . . . 

101  Mouse  Drab  . . 

102  French  Drab  . , 

10:i  Brown  Drab  , . 

104  Green  Brown  Drab 

105  Mouse  Grey  . , 

100  Light  (irey . . . 

107  Drab 

108  (4reen  Grey  . . 

10!)  Slate 

170  Lead  Grey  . . . 

171  Dull  Green  tirey  . 

172  Clay  Grey  . . . 

17:i  Stone  Grey  . . , 

174  Cliff  Grey  . . . 

17-5  Sage  Grey  . . . 


White,  Pnrjile  Uike,  Iximp  Black. 

White,  Emerald  Green,  luimp  Black. 

White,  Prussian  Blue,  Lamp  Black. 

White,  Cobalt,  Lamp  Black. 

White,  Indigo,  Ijimp  Black. 

White,  Cobalt,  Blue  Black. 

White,  Cobalt,  Purple  Ijike,  Lamp  Black. 
White,  Raw  Umber,  Lamp  Black. 

White,  Raw  Unil)er,  Vandyke  Brown. 

White,  Raw  Umber,  Indian  Red. 

White,  Raw  Umber,  Yellow  Ochre,  Lamp  Black 
White,  Ivory  Black. 

White,  Green  Ijike,  Ivory  Black. 

White,  Ivory  Black,  Trans.  Gold  Ochre. 

White,  Ivory  Black,  Yellow  Ochre,  Emerald 
Green. 

White,  Blue  Black. 

White,  Blue  Black,  Gamboge. 

White,  Yellow  Ochre,  Lamp  Black. 

White,  Yellow  Ochre,  Blue  Black. 

White,  Yelloic  Ochre,  Blue  Black,  Raw  Umber. 
White,  Yellou'  Ochre,  Blue  Black,  Burnt  Umber 
Wliite,  Yellow  Ochre,  Blue  Black,  Prus.sian  Blue 


I 


1. 


4 


i 


t 


t 

» 


1 


i 

I 


li 


I 

'‘i 

» 

i 


SIH-CIMHNS 


OF 


MIXB13  TINTS 


] 


1 . Tnn  Ilosn  I 

2 . I vory  1 

;i.  (^herry  1 

1.  Ptrnw 

I it,  Ke<Hl 

Yellow.  1 

Yellow.  1 

Yellow.  1 

Yellow. 

1 Yellow. 

fi.  Ciirmry 
Vt-lln\v. 


1 7.  .lonqiin  1 

S.  I.einnn 

1>.  ntron 

10.  F>r>r 

1 Yellow.  1 

Yellow.  1 

Yellow. 

Yellow. 

1 1 . TT«fllan<l  I 

12.  Aprieot  I 

1 3.  WlH'Ut 

1 t.  Corn  1 

Yellow.  1 

Yellow.  1 

Yellow. 

Yellow.  1 

MS,  ('mini.  I 17.  Hurf!'  \iirf  'orrn  <Tittn|  1 1).  ronTsTraw  ’20,  Oransro 


II  7.  Hiilf!  IT^^TWrn  r*(it  f a I 


Yillow. 


2 1.  ( Immnis  I 22.  T’nltn  Fan 
Vi'llnw.  I Yt'llow. 


211.  Wnttnii 
Yi'llow. 


2 I.  Flnmlioo 
Y.llmv 


2%.  H<>hii 
Yi'llnw. 


i 


8f>.  Pule  Green  I 8 7.  Duck  Ekk  I 8 8.  Grey 
I Green.  I Gn'cn. 


89.  Myrtle  f 
(irecn,  I 


90.  HlueGnH*n. 


{ • , 


' r--. 


91.  Pen  Green.  I 92.  Sunliffht  I 911.  Foliatfe 
I Green.  1 Green. 


{)  I.  Grass 
Grt«en. 


9.5.  Shadow 
Green. 


90.  lii^ht  I 97.  Pistiiehe  I 98.  Paraqiiet  I 99.  Apple  1 GO.  Emerald 
Ap|»le  Gre«‘n.  I Green.  I Green.  I On‘en.  Green. 


101.  Nile 
Green. 


n:  . .ro*  ^ 

'rt'  - ‘V  ‘ ' 


‘ - r.'  . 


I0‘2.  Di8taiu«  I I Oil.  Copj)er  I lOl.  Maple 
Green.  I Green.  I Gri'cn. 


10.5.  Hottle 
Green. 


I OO.  I.iehen  107.  Din'k  108.  IDinter' 
(IrtH'H  Green.  Gn'eii. 


8 109.  lA>li8ter  I 1 1 O.  Hnssian 

Green.  I Green. 


III.  Uitht  |l  12.  Id 
Grey  Gn'«-n.  J niin>  ( 


nreiiieiil  I I II.  Ilremen  III  I.  Ten  Gn'eii.i  11.5.  Snjre 
Gn'en.  | nine  tJrtM  ii.  | 1 Green. 


1 1 6.  I*hU‘ Lilac  l 117.  Grey 
1 Lilac. 

1 18.  LiKht  1 
Lavenfler.  { 

119.  De<“p 
lai  vender. 

120.  Blue 
Lavender 

r 

t 

A 

»>  1 

1 

1 ■ ' ■ 

-- 

' 1 " ’■  * 

j 

-.  / . 

121.  Pansy  [l  22.  Iris  Violet 
Violet.  1 

124.  Pansy 
Purple. 

1 125.  Royal 

[ Purple 

V 


A 


1 1<».  Terra 
Cotta  KchI. 


14  8.  Walnut.  1 149.  ('hocola  50.  Snuff 


t 

I 

r^: 

1 

1 

1 

161.  Silver 
Grey. 

1 52.  Pearl 
Grey.  | 

1 5.3.  Dove 
Grey. 

154.  Lavender 
Grey. 

155.  NileGreen 
Grey 

1 

* 

r 

1 50.  LiKht  Skyj 
Grey.  j 

157.  Sky  Grey. 

158.  Blue 
0 rey. 

1 159.  Violet 

1 Grey. 

100.  Lilac 
G rey. 

s 


w-v 


Drab. 


1 102.  French 

163.  Brown 

1 64.  Green  I 

1 Drab. 

Drnb. 

1 Brown  Drab.  | 

i 


1 00.  I.lKbt  107.  Drnb.  | 108.  Green 


170.  Ix>a(l 
Grey. 


COLOR  INDEX. 


PA(i  E 


Antimony  Yellow r4  I 

Antwerp  Hluc 29  j 

Asplialtum 36 

A u reel  in 14 

Aurora  Yellow 15 

Azure  Blue 30 

Bistre 36 

Bitumen  36 

Black  Lead 39  • 

Blue  Black 38 

Blue  Verditer 29 

Bone  Black 38 

Bone  Brown 35 

Bremen  Blue 30 

Brilliant  Ultramarine 27 

Brilliant  Yellow  ...  14 

Bronze  Green 32 

Brown  Madder 35 

Brown  Ochre 17 

Brown  Pink 35 

Briln  Rouge 24 

Burnt  Carmine 26 

Burnt  Lake 26 

Burnt  Roman  Ochre  24 

Burnt  Sienna 19 

Burnt  Terre  Verte 35 

Burnt  Umber 34 

Cadmium 14 

Cadmium  Orange  19 

Caledonian  Brown 34 

Cappah  Brown  34 

Capucine  Lake  23 

Capucinc  Madder 22 

Carmine  22 

Carmine  Lake 23 

('arminc  No.  2 23 

('asscl  Earth  34 

Cerulean  Blue 28 

Charcoal  Grey 37 

China  White 14 

Chinese  Blue 29 

Chinese  V''ermilion 21 

Chinese  W’hUe 13 


PACE 


Chrome  Green  3> 

Chrome  Orange 20 

Chrome  Orange,  deep 20 

Chrome  Yellow 15 

Citron  Yellow ...  15 

Cobalt 23 

Cobalt  Green 30 

Cobalt  Yell  ow 14 

Cologne  Earth 34 

Constant  White 13 

Cork  Black  39 

Cremnitz  White 13 

Crimson  Lake  23 

Dragons  Blood  25 

Dutch  F^ink  17 

Emerald  Green 31 

Emeraude  Green . . 32 

Extract  of  Gamboge 18 

Extract  of  Vermilion  21 

Field’s  Orange  Vermilion 19 

Flake  White 13 

Flesh  Ochre 24 

French  Blue  28 

French  Ultramarine 28 

French  Vermilion  21 

French  Veronese  Green 32 

Gallstone  18 

Gamboge 18 

Gaude  Lake 17 

Genuine  Ultramarine 27 

Geranium  Lake 25 

Green  Lake  33 

Hookers  Green 32 

Indian  Lake  . . 23 

Indian  Purple  26 

Indian  Red 24 

Indian  Yellow  • 18 

Indigo 29 

Intense  Blue 29 

Italian  Pink 17 

Ivory  Black  . . 38 

Japan  Yellow 18 

Jaune  Brilliant 14 


t 

COLOR  INDEX. 


Kings  Yellow  

Lamp  Black 

Leitchs  Blue 

PAGE 

Lemon  Yellow 

15 

Light  Red  

Light  Violet  

Madder  Carmine  .... 

Madder  Lake 

Magenta  

Malachite  Green  . . . 

Mars  Brown 

Mars  Orange 

Mars  Red 

Mars  Violet ... 

Mars  Yellow  . . . 

Massicot 

Mauve 

Mummy  

Naples  Yellow. . . . 

Neutral  Orange 

Neutral  Tint 

New  Blue  ... 

Olive  Green 00 

Olive  Lake 

Orange  Vermilion. . . . 

Orient  Yellow 

Orpiment 

Oxford  Ochre. 

Oxide  of  Chromium 

Paper  Black  

Paynes  Grey 

Perfect  Yellow 

Permanent  Blue  ...  . 

Permanent  Green 

Persian  Orange 

Pink  Madder 

Prussian  Blue , . 
Prussian  Brown 


Prussian  Green ^2 

Pure  Scarlet 23 

Purple  Lake 26 

Purple  Madder. 25 

Raw  Sienna i5 


I’AOE 

Raw  Umber 34 

Red  Chrome 24 

Rembrandts  Madder 22 

Roberts  Lake 22 

Roman  Brown 35 

Roman  Ochre  ij 

Roman  Sepia  37 

Rose  Carthame 25 

Rose  Dore  (oil  color) 22 

Rose  Dore  (water  color) 25 

Rose  Geranium 25 

Rose  Lake 23 

Rose  Madder 22 

Rubens  Madder  36 

Sap  Green 

Scarlet  Lake  23 

Scarlet  Vermilion 21 

Sepia 3^ 

Silver  White  13 

Smalt 29 

Strontian  Yellow  16 

Terre  Verte 30 

Transp.  Gold  Ochre 17 

Transp.  Oxide  of  Chromium  ...  32 

Ultramarine  Ash 27 

Ultramarine  Green 33 

\'andyke  Brown  34 

Venetian  Red 24 

Verdigris 31 

Vermilion 20 

Verona  Brown 35 

Veronese  Green 33 

Violet  Carmine 26 

Viridian 32 

Warm  Sepia 37 

Yellow  Lake 17 

Yellow  Madder 17 

Yellow  Ochre  15 

Yellow  Ultramarine 16 

Zinc  Green 31 

Zinc  White 13 

Zinc  Yellow  ig 

Zinober  Green 33 


(1)  Henry  Leidel’s 

Finely  Prepared  Artists'  Oil  Colors 


IN  COLLAPSIBLE  TUBES. 

\Vli«‘ii  or«l(‘rliiu,  llio  iiiiiiilter  of  ilie  color  iicc<l  l>c  iiicniioiie«l. 

(IN  FOLK  IN(’»  Turns.) 


1.  Aiitwer])  Blue. 

2.  AHi)haltnm. 

H.  Bistre. 

4.  Bitumen. 

5.  Blue  Black. 

<)  Bone  Black. 

7.  Bone  Brown. 

H.  Brilliant  Yellow. 

}>.  Brown  (krlire. 

10.  Brown  Pink. 

11.  Brun  Rou^e. 

12.  Burnt  Roman  Ochre. 
i:{.  Burnt  Sienna. 

14.  Burnt  Terre  Verte. 

IT).  Burnt  UmlH*r. 

1(5.  CMedonian  Brown 
17.  Cai>i)ah  Brown. 

IH.  (,'assel  Earth. 

10.  ( ’hinese  Blue. 

20.  ( 'hrome  Green,  HkIR- 

21.  Chrome  Green,  medium. 

22.  CHirome  (4reen,  deep. 

2:i.  C’hrome  Yellow,  li^ht. 

24.  Chrome  Yellow,  medium. 

25.  Chrome  Yellow,  deep. 

2(5.  C’hrome  ( )range. 

27.  Chrome  OrauKc,  deej). 

2H.  ( 'olo^ie  Earth. 

20.  (!oi)al  Mefjrilp. 

;{().  Cork  Black. 

21.  Cremuitz  White. 

22.  Emerjild  Green. 

22.  Flake  White. 

24.  F’lesh  ( )clm‘. 

25.  Greeji  Naples  Yellow. 

2(5.  Indian  R«‘d. 

27.  Indigo. 

2H.  Italian  Ihnk. 

(IN  TWO  .\NI>  A II 

7(5.  (’armine  Lake. 

77.  Crimson  Lake. 

7H.  GamlM))fe. 

70.  Geranium  Lake.  No.  2. 

HO  Indian  Lake. 

HI.  Mauve. 

H2.  Olive  Lake. 


20.  Ivory  Black. 

40.  Kiiif^'s  Yellow. 

41  Lain])  Black. 

42.  Light  Red. 

42.  M(*gil]). 

44.  Mummy. 

45.  Nai>les  Yellow,  light. 

4(5.  Naples  Yellow,  medium. 

47.  Najdes  Yellow,  deej). 

48.  New  Blue. 

40.  Olive  Gn*en. 

50.  PaiMU’  Bhwk. 

51.  Prussian  Blue. 

52.  Prussian  Brown. 

52.  Prussian  Green. 

54.  Rjiw  Sienna. 

55.  Raw  Uml)er. 

5(5.  Red  Najdes  Yellow. 

57.  Ronmn  Brown. 

58.  Roman  Ochre. 

50.  Silver  White. 

(50.  Sugar  (*f  Lead. 

(51.  Terre  Verte. 

(52.  Transj)arent  Gold  Oclire. 
(52.  Ultramarine  Green,  light. 
(54.  Ultramarine  Green,  deep. 
(55.  Vandyke  Brown. 

(5(5.  Venetian  Red. 

(57.  Verona  Brown. 

(5S.  Yellow  Lake. 

(50.  Yellow  Ochre. 

70.  Yellow  Ultramarine. 

71.  Zinc  White. 

72.  Zinc  Yellow. 

72.  Zinoher  (rn^en  light. 

74.  ZinolM'r  (4reen.  medium 

75.  Zinol>er  Green,  deep. 


AI,F  INCH  TUOKS.) 

H2.  Permanent  Blue. 

S4.  PermaiuMit  Green.  No.  1. 
85.  Permanent  Green.  No.  2. 
S(5.  Purple  Lake. 

87.  Scarlet  Lake. 

88.  Verdigris. 

H5».  Veronese  Gre«*n. 


Henry  Leidel's 

Finely  Prepared  Artists’  Oil  Colors 


Contimu  (1. 


IN  COLLAPSIBLE  TUBES. 


(IN  DOUBLE  TUBES.) 

81 1).  Crenmitz  White. 
38i).  Flake  White. 

51(1),  Silver  White. 

I'i  <'K>TS  i<;acii. 


(IN  HALF-POUND  TUBES 

81 0.  Crenmitz  White. 

88o  Flake  White 
Silver  White. 

2 1 < i:\TS  KA<  II. 


(all  the:  followino  colors  are  in  two  and  a half  inch  tubes.) 


90. 

Blue  Verditer. 

97. 

French  Vermilion. 

91. 

Brown  Madder. 

98. 

Geranium  Lake  (extra). 

92. 

Capucine  Lake. 

99. 

Green  Lake. 

98 

Carmine  No.  2. 

100. 

Japan  Yellow 

94. 

Cerulean  Blue. 

i 100.1. 

Persian  Orange. 

95. 

C'hinese  Vermilion 

1 101. 

Sepia. 

96. 

Citron  Yellow. 

1 102. 

Vermilion. 

12  C'FNTS  i:a<  II. 

103. 

Colialt  Blue. 

i 115. 

Mars  Yellow. 

104 

Emeraude  Green. 

116. 

Orange  Vermilion. 

105. 

Extract  of  Vermilion. 

' 117. 

Oxide  of  Chromium. 

106. 

French  Ultramarine. 

118. 

Oxide  of  Chromium,  Trans. 

107. 

Indian  Yellow. 

119. 

Pink  Madder. 

108. 

Lemon  Yellow. 

120. 

Remhrandt’s  Madder, 

109. 

Lemon  Yellow,  pale. 

121. 

Rose  Dore. 

IIO. 

Madder  Lake. 

122. 

Rose  Madder. 

111. 

Malachite  Green. 

128. 

Ruhens'  Madder. 

112. 

Mars  Brown. 

124. 

Scarlet  Vermilion 

113. 

Mars  Red. 

125. 

Strontian  Yellow. 

114. 

Mars  Violet. 

126. 

Viridian. 

20  C'KNTS  K \<  II 

• 

127. 

Aurora  Yellow. 

135. 

Capu(“ine  Madder. 

128. 

Aureolin. 

186. 

Cannine. 

129. 

Brilliant  Ultramarine. 

187. 

INIadder  Carmine. 

180. 

Burnt  Carmine. 

188. 

Mars  Orange. 

181. 

Cadmium  Lemon. 

189. 

Purple  Madder. 

132. 

Cadmium  Pale. 

140. 

Violet  Carmine. 

183. 

Cadmium  Yellow. 

141. 

Yellow  Madder. 

i:l4. 

Cadmium  Orange. 

2i>  <'K1NTS  I<:A<'II. 


(8) 


Henry  Leidel’s 


Oils,  Varnishes  and  Mediums. 


No. 


I. 

o 

k 

4. 


4 . 


Linsocd  Oil,  IdeacluMl cacli,  !j:0  lo 

l*<>l>I'y  < dl,  ])urifi(‘(l 

Nut  Oil 

Pale  Drying?  Oil 

Siccative  <le  ('(mrtray 

Sicc’ative  <le  Harlem 

Tnr]K‘iitine,  Rectified  

Anil)er  Paintinj^  ( HI ; this  is  a new 
l)re]»aration  us(“d  for  inixinf? 
witli  Oil  Colors,  in  ])lace  of  the 
ordinary  oils  or  siccatives.  It 
hrin^H  out  the  colors  to  their 
full  intensity  and  brilliancy, 
and  acts  a drier,  while  it  ])re- 
vents  any  cracking;  of  the  colors. 


oz. 

:f;0  15 


4 

♦0 


07.. 


Oil  C’olors  while  i)aintinj;  tx> 
frive  a >;loss  to  same  Can  also 
Ih>  used  to  Kliize  Phuiues,  etc. . . « 

14.  Autumn  Leaf  Varnish » 

15  Bleached  Shellac  Varni.sh » 

Id.  TH(juid  iH'cora,  to  he  used  with 
Oil  Colors  for  ])aintinfj:  on  Silk. 
Satin,  or  any  kind  of  fabric,  to 
pr(>v»‘nt  the  Oil  from  spreading.  " 
17.  Milk  of  Wax  ; a few  dro])sof  this 
jtrejtarafion  used  while  i)aintin>; 
with  Oil  Colors,  (h'adens  the 
gloss,  hut  retains  tin*  full  bril- 
liancy of  tint  ; of  great  use  in 
church  decoration,  etc.,  where 
there  are  contlicting  lights.  , . . 

IM.  Klxmy  Licpiid,  to  ehonize  any 

material • 

111.  (fold  Paint  Licpiid,  to  mix  with 

any  color 

•.JO.  Japan  (fold  Size » 


15 


1*1  NT 

♦o  UO 


It 

10 

15 

25 

HO 

II 

10 

15 

25 

— 

It 

10 

15 

25 

HO 

II 

10 

15 

25 

HO 

- 

10 

15 

25 

HO 

II 

H 

l‘J 

20 

— 

" H. 

Fn*nch  Retouching  Varnish » 

Whiti*  Picturt'  (’o])al  Varnish.  . . -- 

— 

20 

— 1 ‘20 

» 10. 

15 

— 

— 1 35 

-'ll 

White  Daniar  Varnish « 

15 

— 

— 1 35 

» 12 
. i;{. 

Picturi*  Mastic  Vaniish « 

AmlH*r  Varnish,  to  he  mix(*d  with 

25 

— 

— — 

<Xr  9 

'.JO  — 


25 

25 


1 ‘JO 


— 1 50 


SKI 


^CANVAS  IN  ROLLS. 

Each  Roll  contains  six  yards  and  measures  ahoiit  two  inches  more  in  width 
than  marked,  for  stretching  l)urposes. 

(14)  HeDry  Leidel's 
Oepma.li,  Pla.in  a.nd.  Single  Ppime. 

FIRST  QUALITY  LINKN, 

27  inches  wide per  yard,  |0  70  [ler  roll,  |4  05 

: <!  " " » 75  ,/  4 35 

" " » 95  n 5 25 

fr  " " • • " 1 10  « 6 00 

" " " 1 65  //  9 00 

" " « 2 25  //  12  35 

" " //  3 10  //  17  00 

'^4  " » « 4 00  „ 21  00 

(15)  Henry  Leidel's  German  Roman. 

FIRST  QUALITY  LINEN. 

27  inches  wide per  j^ard,  $0  80  per  roll,  -iH  60 

" " II  95  //  5 25 

" " II  1 10  II  6 00 

43  II  II  ,,  1 45  //  7 50 

4-'l  " " II  1 90  //  10  00 

•>4  II  II  « 2 65  //  13  50 

(16)  Henry  Leidel's  German  Twilled 

FIRST  QUALITY  LINEN. 

27  inches  wide per  yard,  |1  00  per  roll,  $5  75 

" " II  1 20  ./  6 75 

" " II  1 50  //  8 00 

43  ‘I  II  1 80  //  10  50 

® l^irst  Qiuility  (Jeruian  Cunvus  is  uianiiliK'tur^d  in  (Tcrmuny,  on  lx*st 
Knglisn  Ijinou,  cspocially  lor  him,  und  is  wurnintod  to  bo  o(iuul  to  the  best  iiiinort(.*d 
Canvas.  * 

(17)  Best  Fi’ench  Ordinary. 

41  inches  vride per  yard.  |!  15  per  roll.  112  00 

3H  II  II  //  2 25  //  23  50 

(18)  Best  French  Ordinary,  Fine. 

41  inches  Yude per  yard.  |1  60  per  roll,  |16  70 

^3  II  II  ..  3 15  /-  32  90 


(19)  Best  French  Demy  Fine. 


41  inches  wide 

82  II  II  


per  yard,  $2  30 
II  4 50 


per  roll,  |24  00 
II  47  00 


(20)  Best  French  Fine. 

41  inches  wide per  yard.  13  60  per  roll.  $37  60 

‘"^3  II  II  /,  7 10  I,  74  -.0 


(21)  Best  French  Roman,  Fine. 


41  inches  wnde per  yard,  |3  60  per  roll,  |37  C-O 

^3  II  II  //  7 10  „ 74  2u 


The  Freiicli  Canvas  contains  II  j’ards  in  tiie  roll. 


(76)  Henry  Leidel’s 

Extra  Fine  Artists’  Bristle  Brushes. 


Nos  (5  n ! 3 I 0 

THICK  HAIR.  KOl'Nl)  AN1>  FLAT.  POUSHKI)  CF.DAR  H.\NI)LKS. 


No.  00 each,  04 

» 0 . " 4 

« 1 » 0 

II  3 » 


() 


No  3 each,  sfo  0f< 

II  4 » 

« 5 » Ih 

II  . » Ih 


Assorted  dozen,  Nos.  1 to  0 sfo  00 

Extra  Large  Sizes. 


ItOl'NI). 


FL 


No.  14.. 

II  10.. 

II  IH.. 

II  20.. 


//  24. 

II  20 


each,  ifo  13 
14 
10 
IH 
20 


'4 


inch 

7 

1 

1^8 
1'4 
1"b 
1*2 


\T. 


. each,  ifO  13 
« 14 

» 10 

» IH 

» 20 

M 22 

24 


(77)  Henry  Leidel’s 

Extra  Fine  Bright’s  Bristle  Brushes. 


Nos.  6 


No.  00 *’4 

I,  0 4 

//  1 " <1 

„ •>  0 


THIN  HAIR.  Fli.VT.  POLISHKI)  CF.DAR  HANDLKS. 

No.  3 

H 4 

.■> 

« 0 


.each,  ^ OS 
• 8 

» 10 

10 


Assorted  dozen.  Nos.  1 to  0 . . |0  00 

Extra  Large  Sizes. 


No  7.  'h  inch  en<’h.!f0  14 

« H.  I - " 10 


No.  10.  1^4  inch..  . each.  |0  20 

II  11.  1 • 


» 0,  1 


18 


12.  U 


2 


o > 

24 


(83) 


Henry  LeidePs 

Extra  Fine  Red  Sable  Brushes. 

Pure  Stock,  Full  Sizes. 


No.  1 


each,  |0  l(j 

" ^ » 18 

" !> « 20 

"10 ,/  22 

"11  /,  24 

"12 //  26 


Extra  Large  Sizes. 


No-  each,  .fO  35 

» 14  -/  45 

" !■'> " 55 


No.  16 each,  .$0  75 

" ly « 95 

" 20  „ 1 15 


Henry  LeideTs 

Extra  Fine  Brig-ht’s  Red  Sable  Brushes. 

Pure  Stock.  Full  Sizes, 


2 3 

THIN  HAIR 


« Z. 


No.  1.  . . each,  fO  12 

» 14 

" 17 

» 20 

" 25 


" 3. 
« 4 
« 5. 


0 7 8 9 

POLISHED  CEI).\R  HANDLES. 

No.  6 each, 

" 7 „ 

" 8 „ 

" 0 H 


Extra  Large  Sizes. 


No.  10.  ^5^  inch  wide. . each,  |0  60 
12.  % « " ..  //  85 

" 14.  ^4  " " . . » 1 10 


No.  16.  5'^  inch  -wnde.  .each, 

« 18.  ^ II  II  . I, 

" 20.  % » II  ..  II 


.|0  30 
35 
' 40 

45 


|1  50 
2 00 
2 75 


